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„ The World’s First International Magazine For Drummers 


Chad Wackerman 


Lionel 





Hampton 

Allan 
Schwartzberg 












































BLACK BEAUTY'S BACK 





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Photo by Rick Malkin 


PH 

CHAD 

PCI 

WACKERMAN 


His work with Frank Zappa and Allan Holdsworth has 
established Chad Wackerman as a drummer who can 


handle extremely complex music, while his playing with 
Albert Lee and Men At Work shows that he is equally 
comfortable with simple grooves. For Chad, the goal is 
to play each style convincingly. 

by Robyn Flans 


m 


ALLAN 

SCHWARTZBERG 

A typical day for a busy New York studio drummer in¬ 
volves a number of sessions and a variety of challenges. 
We followed Allan Schwartzberg around on one of those 
days for a revealing look at the real world of session 
drumming. 

by Robert Santelli 



Photo by Ebet Roberts 



LIONEL 

HAMPTON 


Known primarily for his pioneering use of the vibraphone, 
Lionel Hampton started out as a drummer, and his work 
on both instruments has contributed greatly to the history 
of jazz. Here, he traces his long career and discusses the 
importance of swing. 


by Burt Korall 



MD Trivia 
Contest 


Win Rod Morgensteins Premier drumset. 










COLUMNS 


VOLUME 12, NUMBER 12 


EDUCATION 


ROCK 'N' JAZZ 
CLINIC 

Linear Drumming 

by Gary Chaffee 

36 

CONCEPTS 

Trusting Your Own 

Ideas _ 

by Roy Bums 

40 


TRACKING 

Odd Rhythms And 
Meters In TV And Film 

Cues _ 

by Emil Richards 

42 


JAZZ DRUMMERS' 
WORKSHOP 

"Erskoman" _ 

by Peter Erskine 

46 


DRIVER'S SEAT 

Solo Fills And Figures 
by Gil Graham 

78 


ROCK CHARTS 

Leroy Clouden: 
"Century's End" 

Transcribed by 
James Morton 

84 


THE MACHINE 
SHOP 

Recording Your 
Drum Machine 

by Steve La Cerra 

92 


IN THE STUDIO 

Session Rehearsals 

by Craig Krampf 

94 


CLUB SCENE 

Stocking Stuffers II 

by Rick Van Horn 

98 

PORTRAITS 

Neil Grover 

by Andrea Byrd 

64 


EQUIPMENT 


SHOP TALK 

Vater Percussion 

by Adam Budofsky 

80 


PRODUCT 

CLOSE-UP 

Yamaha Power V 

Drum kit _ 

by Bob Saydlowski, Jr. 

90 


ELECTRONIC 

REVIEW 

MacDrums 

by Rick Mattingly 

96 


1988 READER'S 
QUESTIONNAIRE 

96a 


NEW AND 
NOTABLE 

106 



120 


UPDATE 


8 


INDUSTRY 

HAPPENINGS 


116 















































The 

Live 

Action 


I recently reviewed the results of a nationwide 
poll conducted by The National Research Center 
For The Arts. One segment of the poll examined 
how young Americans are spending their leisure 
hours, and what forms of entertainment are most 
popular. Interestingly, though live music events 
scored high in popularity, actual attendance fig¬ 
ures were down an astounding 26% since 1984. 

The reasons for the decline ranged from a lack 
of time, to exhorbitant ticket prices, to a shortage 
of performances in certain areas. However, the 
strongest contributing factor was the increasing 
popularity of CD's and VCR's, which apparently 
are being used nowadays as substitutes for live 
entertainment. Evidently, a rather substantial per¬ 
centage of young people are content to stay at 
home with their entertainment centers, rather than 
attend live music events. 

This trend seems to further indicate that today's 
young musicians are making less of an effort to 
see their favorite artists in live performance. And 
that doesn't strike me as being a particularly healthy 
sign. Of course, there's obviously nothing wrong 
with purchasing the records and viewing the vid¬ 
eos. But, in truth, neither can ever really replace 
being part of a live audience. We all learn best 
from careful, repetitive, close-up observation of 
the players we admire—something recordings and 
TV simply cannot provide. Observing the live ac¬ 
tion is an essential aspect of learning. 


A classic example stands out vividly in my 
memory. Some readers, old enough to remember, 
may recall a place called Birdland in New York 
City. Despite its legendary status, Birdland was 
actually nothing more than a rather dingy base¬ 
ment nightclub, with about as much atmosphere 
as a Burger King. And yet, hundreds of wide-eyed 
musicians would file down that narrow flight of 
stairs into this literally underground establishment 
seven nights a week. For a mere two-dollar admis¬ 
sion, you could sit for hours in the "Peanut Gal¬ 
lery," not more then five feet from some of the 
finest drummers of all time. Aspiring players would 
come from miles around to sit shoulder to shoul¬ 
der in that cramped "Gallery." But nobody cared. 
We were there to watch, to listen, and to marvel 
at the greatest drummers in the world. And that's 
all that really mattered. It was a truly inspiring 
learning experience. 

We do our best to enlighten you each month on 
the styles and techniques of the great players of 
our time. But reading about it is only one aspect. 
More important is to get out and see the players 
you admire and wish to emulate, and absorb all 
you can from their live performances in the con¬ 
cert halls and clubs around the country. This is 
most definitely one phase of the learning process 
we should never overlook or underestimate. 


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AIRTO, SPENCER, AND VELEZ 

Hooray for you guys! It's good to see a 
publication keep its promises. When you 
announced that Modem Percussionist was 
to cease publication as of the September 
1987 issue, I was very disappointed. I am a 
working percussionist with only a moder¬ 
ate interest in the drumset, and I had greatly 
enjoyed the features and columns contained 
in MP. So it was with some trepidation that 
I subscribed to Modem Drummer, based 
on your assurance that MD would dedi¬ 
cate a fair share of coverage to the percus¬ 
sion world. But I must say, in addition to 
columns you've already presented by Emil 
Richards and Anthony Cirone, your Sep¬ 
tember issue—with its cover story on Airto 
and profiles of both Julie Spencer and Glen 
Velez—reaffirmed my faith in those assur¬ 
ances. Thanks very much for all the infor¬ 
mation on these excellent performers. 
Please continue to include such excellent 
coverage of the non-drumset side of our 
fascinating percussive world. 

William Reynolds 
Omaha NE 

DAVE TOUGH 

Thanks for printing Burt Korall's piece on 
Dave Tough. [September '88 MD] Articles 
like that—making us aware of the musical 
tradition/heritage of the instrument, and of 
the techniques and ideas of one of the art¬ 
ists who are part of that tradition—are 
greatly appreciated and desperately needed. 

Ed Soph 
Denton TX 

Thank you for the wonderful article on Dave 
Tough. It was beautifully written and very 
informative. It was listening to Dave that 
inspired me to be a drummer, when I was 
ten years old and Dave was with Tommy 
Dorsey. For years, I wondered how he got 
those beautiful sounds from his bass drum 


and snare. Your article was very enlighten¬ 
ing. 

Alex Menriquez 
Arlington WA 

I can't thank you enough for publishing the 
Dave Tough article. It has been long over¬ 
due. I am sure that many of the people you 
feature in most of your issues are better 
schooled and have better chops than Davey 
ever had. But while Dave wove magic car¬ 
pets, these people drive piles. I know that's 
what the music industry requires these days, 
and you are to be congratulated all the 
more for printing something that goes 
against the common wisdom and features 
a true drumming artist. 

Don Robertson 

Brookside NJ 

BUDDY MILES 

Buddy Miles was a tremendous influence 
on me as a young drummer in the late 
1960s. I appreciated the power and soulful 
feeling that he brought to the music of the 
Electric Flag and his own Express. Looking 
back now, I realize what a pivotal figure he 
was in the transition between "soul" music 
and "rock" music, which laid the founda¬ 
tion for so many successful bands that fol¬ 
lowed. I was pleased to see an article on 
Buddy in MD, and even more pleased with 
the straightforward manner in which Buddy 
spoke of both his good and bad times. 
Robert Santelli is to be commended for a 
fine interview. 

Jake Previllar 

New Orleans LA 

TWO-WAY STREET 

I was very pleased and thankful for your 
September '88 Editor's Overview ["A Two- 
Way Street"], which dealt with the rela¬ 
tionship between music dealers and musi¬ 
cians. The editorial was on the money, and 


with a magazine of your size and profile, 
I'm sure it will influence the thinking and 
behavior of both partners in the relation¬ 
ship. Thanks for your sensitivity to an issue 
that affects us all. 

Warren Price 
President 
The Drum Shop 
Edmonton, Alberta, Canada 

TRIGGERS II CLARIFICATION 

First off, I would like to thank all of you at 
MD for the fine and most favorable article 
and review of our Drum Bug contact pickup 
and Drum Bug DT-1 trigger in the Septem¬ 
ber issue. 

Secondly, I would like to clear up some 
possible misconceptions that Bob Saydlow- 
ski, Jr. may have had at the time he wrote 
the article. When using the Drum Bug con¬ 
tact pickup as a trigger on the bottom side 
of the batter head, we do not ever recom¬ 
mend running the cable between the head 
and rim. This is asking for trouble, bent 
rims, cut cables, etc. If it can't be mounted 
on top, as it was designed to be, and must 
be mounted underneath, then we suggest 
removing the bottom head of the drum so 
that the cables can run out the bottom of 
the drum. 

The Drum Bug is a contact pickup to 
replace mic's and stands and provide isola¬ 
tion in the mix. Triggering is better left to 
our newer Drum Bug DT-1 trigger, as it was 
designed specifically for a triggering appli¬ 
cation with the new units on the market in 
mind. How many triggers have drummers 
had to replace, just because the cheap cable 
had broken? We've sought to eliminate that 
problem by creating a durable sensor head 
that has replaceable cables. The DT-1 has 
a phono plug on top, and each unit comes 
with its own cable, consisting of a right- 
angle RCA phono plug, 7" Belden cable 
ending in a 1/4" female jack with mounting 

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Max Roach 



It's been 72 hours since the 
official announcement, and for 
Max Roach, the sensation 
lingers. "I didn't sleep at all 
last night," said a smiling 
Roach backstage after 
performing a solo set before an 
adoring crowd of University of 
Massachusetts students and 
faculty. It's no complaint, just a 
measure of what a MacArthur 
Fellowship has meant to the 
64-year-old composer, 
percussionist, and UMass 
professor, considered by many 
the greatest drummer in jazz. 

Roach, the first university 
professor to receive the award, 
will receive $372,000 from the 
John D. and Catherine T. 
MacArthur Foundation of 
Chicago over the next five 
years. The no-strings-attached 
grant has been given to some 
254 fellows since 1981. The 
other 30 winners this year 
range from butterfly expert 
Philip DeVries to military 
historian David Alan Rosen¬ 
berg and puppeteer Bruce O. 
Schwartz. 

"I got a message in the 
school office," said Roach, 

"and I noticed it was from the 
312 area code. I thought it 
might be something about the 
Chicago Jazz Festival in the 
fall. I called and they told me 
what it was. I was completely 
speechless, dumbfounded, and 
humbled. It was beyond my 
wildest dreams." 

For Roach, who considers 
the award a tribute to bebop, 
this is a chance to create 
opportunities for others. 

This performer, who has 
cherished his black heritage 
and musical roots while 


forging fresh 
musical territory, 
plans to create a 
music school in 
New York's 
Bedford-Stuyvesant 
neighborhood, 
where he grew up 
and learned the 
drums in the 
neighborhood 
church. "I've 
always been 
fortunate to play 
with the most 
creative people," 
says Roach. "I've 
always been able 
to make ends 
meet. Now, I can 
pay back a few of the things 
that I've gotten from the 
community I grew up in." 

Roach has always mixed his 
artistry with activism, be it in 
protesting the Vietnam War or 
in compositions like the 1961 
"We Insist! Freedom Now 
Suite" he wrote with Oscar 
Brown Jr. "He's very much of a 
risk-taker," says noted jazz 
pianist, historian, and fellow 
UMass professor Billy Taylor, a 
friend of Roach's for 40 years. 
"Because of his beliefs, he's 
jeopardized his career. Some 
people don't take activism 
lightly in this country." 

"We were always politically 
aware," said Roach, who felt 
the sting of blacklisting in the 
'60s. "I was like that during the 
Civil Rights Movement and the 
Vietnam War. I was very 
affected by what happened in 
South Africa." 

Roach was a beneficiary of 
the New Deal's Works 
Progress Administration 
(WPA), which brought 
subsidized artists into the 
public schools. "I didn't know 
the implications of all the 
development at the time, but I 
knew I could study an 
instrument. Nowadays public 
schools are in a lot of trouble. 
But it's a funny thing, talent 
will surface anyway." 

Roach, who won an Obie 
for his compositions for the 
stage, has long been active in 
academia, lecturing at the 
School of Jazz in Lenox, 
Massachusetts, and serving as 
a full-time UMass professor 
from 1973-78. He teaches 
master classes a few weeks a 
year now. He also plans to 


begin work on his autobiogra¬ 
phy. "I think I've just scratched 
the surface with it," said 
Roach. "I think of what I'm 
doing as being much like what 
a writer does. I'm creating a 
story on an instrument. That's 
the approach I could take 
working with Dizzy and Duke. 
Now my students are taking it 
another step further." 

—David Perry 


Gary Burke 


c 

CD 


oc 




When we last covered Gary 
Burke (Sept. '87 MO), the cliff¬ 
hanging question we were left 
with was, "Can Gary and the 
Joe Jackson band possibly pull 
off a live presentation of the 
fully orchestral Will Power 
album?" We're pleased to 
report that "Yes!" is the 
answer. Gary and members of 
the Jackson band jetted to 
Japan to join the Tokyo 
Philharmonic Symphony 
Orchestra, conducted by 
Yoshikazu Tanaka, fora live 
Will Power concert. With two 
days of rehearsal, the massive 
80-piece ensemble pulled 
together a successful show. 

"It was a huge undertaking 
and difficult to know whether 
it would fly or not," explains 
Gary. "It turned out great, and 
it was actually easier playing 
the music live in concert than 
it was recording it. The 
Japanese musicians were very 
strong, precise players, which 
set well with the precise 
rhythmic passages in Joe's 
music." Offers for similar or¬ 
chestral collaborations have 
come to Jackson from Europe 
and also from major domestic 
orchestras, including the 


prestigious Cleveland Orches¬ 
tra. 

Another winning collabora¬ 
tion was Gary's composing 
work with The National Dance 
Company of Portugal in 
Lisbon. His piece, "Sopa Do 
Dia" ("Soup Of The Day"), 
composed on the Emulator 2 
and the Linn 9000, is now an 
official part of the company's 
repertoire. In London, Burke 
joined Jackson to work closely 
with director Francis Ford 
Coppola while recording the 
soundtrack of the film Tucker. 
Jackson's score called for a 30- 
piece band that let loose 
plenty of swing. "It was a 
change of pace for us and a lot 
of fun for me to play that kind 
of music again," says Gary. 

Producing has also kept 
Gary busy. He produced 
singer/guitarist Greg Kroll's 
album Two Sides and is 
working on another project 
that is a potential act for 
Canada A&M Records. Gary's 
inspired drumset playing can 
be heard in many other media 
currently, including the 
"Nighttime" celebrity spot 
recorded with Jackson for a 
Michelob TV ad, on a two- 
hour video from the Big World 
tour entitled Joe Jackson Live 
In Tokyo, and also on two 
sides of Jackson's retrospective 
live double album, Joe Jackson 
1980/1986. Gary plans to 
continue growing through 
composing and producing. 

And as for his future versatile 
projects on Jackson's team? 
"With Joe, you just never 
know what's next," he laughs. 

—Jeff Potter 


Denny 

Fongheiser 



8 


MODERN DRUMMER 






Finally, 

someone listened! 




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Denny Fongheiser is enjoying 
quite a busy time at the 
moment, between working live 
with Belinda Carlisle and in 
the studio on countless 
recording projects. 

"I used to worry about 
losing studio work by being 
out of town," Denny admits, 
"but actually, this tour was 
really good for me in that 
respect. We were only out for 
three or four weeks at one 
time, and a couple of projects 
waited until I got back, which 
was really nice. It just made 
me realize that you can keep it 
going. It's good to be able to 
do both studio and live work, 
just for a different energy. In 
the studio, it's very creative, 
and it's a different song every 
day. There's much more 
mental concentration with 
more technique involved. 

Also, the endurance is 
different. Live, there isn't as 
much of a technical pressure, 
so there's more of an energy 
you produce. 

"I flew home to do Quarter- 
flash during a few days off 
from touring, and it was great 
to be in the studio again, 
because I love studio work. 

But if you're in there every 
day, sometimes you just start 
going for some of the same, 
safe things. Getting away from 
it for a few weeks, I come back 
with a whole fresh approach. 

"With Belinda, we had a lot 
-of freedom," he continues. 

"She was happy as long as the 
playing was strong and we had 
the right feels and tempos of 
the songs, and certain key 
parts were done consistently 
every night. All the songs were 
real up-tempo, with real 
straight-ahead grooves, so I 
perceived my job as just 
holding that groove. There 
isn't a lot of flash or anything." 

One of the more creative 
studio gigs for Denny has been 
recording Tracy Chapman's 
debut offering. "That was great 
to do because it was very 
different. It was back to the 
way they used to make 
records. Everything was 
tracked live, at least all the 
bass, drums, Tracy's guitar, and 
her vocals. We did a couple of 
songs a day, and David Kersh- 
enbaum produced. His whole 
approach was to make Tracy's 
vocal and guitar the focus, and 


bassist Larry Kline and my job 
was to support it and put 
coloring in around her. This 
was actually my favorite 
project, because most of the 
projects I get called for are 
more heavy-handed stuff. In 
this project there were so 
many subtleties. And she is 
great—a real good person and 
really, really talented." 

Four tracks on Tom 
Cochran's recent record were 
also a lot of fun to do, 
according to Denny. "I did that 
record with Don Gehman, 
who is pretty much respon¬ 
sible for all the records 
happening for me. He gave me 
my first start, and I've been 
working with him for about the 
last three years. That project 
was a lot of fun because there 
was a lot of playing involved 
in it, and it was more than just 
holding down a groove. They 
really wanted to create 
interesting parts and different 
feels. I would take whatever 
groove they had, and suggest 
different things to make it feel 
better, to make it move 
forward better. I'd take 
transitions or different parts 
like bridges, and make big 
changes so that there was 
something new and interest¬ 
ing, like doing fills on two 
different snare drums, one 
tuned really high and the other 
tuned medium or low. We 
went for some different sounds 
and tried to create some 
different moods for the record, 
which is something I really like 
to do." 

In addition to these projects, 
Denny has been in the studio 
with David Kershenbaum, 
working on records for a band 
called Show Of Hands, a track 
by the band Berlin, and tracks 
for the Burns Sisters. Other 
projects include Brian Setzer's 
latest album, half of the 
Dancing Hoods' latest LP, and 
producing a band called Rain 
On Fire for a TV pilot called 
Gang Of Four. 

—Robyn Flans 

David Owens 

David Owens was working as 
a staff musician at Knotts Berry 
Farm when a friend showed 
him an ad in Music Connec¬ 
tion magazine announcing 
auditions for Thomas Dolby. 


"That night I put a tape 
together, thinking, 'Boy, that 
would be nice,' but I didn't 
think I had a chance in the 
world," David confesses. "But 
about three weeks later, I got a 
call to audition. I didn't feel 
real good about that first 
audition, though. At the 
second audition, Thomas 
stopped me and said, 'You're 
not playing any fills' and I 
said, 'Well, I'm just trying to 
make it groove,' because it 
certainly wasn't grooving. He 
called me a third time and set 
me up with bass player Terry 
Jackson, who got the job. He 
talked to me afterwards and 
said, 'We like your playing, 
and we're pretty sure we're 
going to use you, but we still 
have more people to hear.' By 
the fourth time I went in I 
figured he wouldn't have 
called me back unless he was 
pretty sure, and we started 
rehearsals after that." 

Even though it seemed that 
the auditions didn't go that 
well, David says he probably 
got the gig because, "I wasn't 
overplaying. In fact, I was just 
playing the basics. I didn't go 
in there and try to show chops 
at all, because I figured 
enough guys in L.A. could do 
that. And under the circum¬ 
stances, that wouldn't have 
worked anyway, so I went in 
and played the feels as best I 
could. He told me after the 
second audition that my main 
competition was Lou Molino, 
who I had auditioned against 
years back in Cock Robin. The 
two of us play completely 
different, though, and Thomas 
just had to make up his mind 
what sort of player he wanted, 


I suppose. 

"Thomas is looking for 
someone who doesn't ap¬ 
proach the kit incredibly con¬ 
ventionally, although I'm not 
that unconventional. Some¬ 
times he would actually toy 
with me. I'd have my sample- 
setup to the left, and he would 
have me put different sounds 
on different pads and play 
something with my left hand, 
then he'd say, 'Now do that 
with your right hand,' and 
he'd kind of mess with me and 
work with me almost like he 
was programming on his 
Fairlight, only he was using 
me." 

The band rehearsed for 
seven weeks, played some 
local clubs, and then tracked 
for two weeks. Six months 
later, as the record neared 
completion, David went back 
into the studio to do overdubs. 
"Thomas really spends quite a 
bit of time in the studio, and 
he's very relaxed. Bill Bottrell 
was the best engineer I've ever 
worked with; there was no 
pressure, and he was really 
helpful and encouraging. It 
was a great atmosphere to 
work in." 

After the release of the 
album, titled Aliens Ate My 
Buick, the band did some 
dates in England and went on 
the road for another month. 
Currently, David is just trying 
to keep himself busy, some¬ 
thing he doesn't seem to have 
too much trouble doing. He 
works twice a week at Bill 
Medley's The Hop, doing a 
'50s and '60s show called 
Rock Around The Clock —"a 
lot of good musicians and a 
high-energy fast-paced hour- 
and-a-half show." In 
addition, he does The 
British Invasion Show, 
works with a band called 
Private Eye in Orange 
County—doing R&B, 
reggae, and rock in 
clubs—does casuals, and 
still subs down at Knotts. 
He even does a fair 
amount of jingles as well, 
for such products as Chief 
Auto Parts, McDonalds, 
Toyota, and Ralph's 
Market. Even with all that 
activity, David says he 
would still like to do more 
recording. 

—Robyn Flans 



10 


MODERN DRUMMER 












IpS wood is the best 
dsat Regal liphmi 
'best ever since they 
ticks over 30 rears 3C 


than solid, tmdmhte ft Ammm hickory Hand- 
selecting means the {oiks at Regal Ftp make sm 
that oniy the choicest wood ends up as Regal Tips. 
The result is that no after stick taels as great, stays 
as straight or lasts as tong. 

■fid no other stick ernes in as wide a selec¬ 
tion of mod and nylon tip models in natural 
wood finishes or brilliant colors, either. That's 
why more drummers play Regal Tips (tmt 
any other drum sticks 

o, the mi tlmeyg/plck 0 a 
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[ they're Regal Tips 'Cause 

me you grab hold of a 
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know that you've gotten 
a hold cf some realty 


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Charly Alberti 


Alberti, drummerfor 
the enormously 
popular Argentine 
band Soda Stereo, says 
that their influences 
aren't quite so easily 
gleaned. "Just like 
folkloric music, rock 
music from any 


much of the feeling of the 
folkloric music of Northern 
Argentina. 

In addition to (and perhaps 
as a result of) his role as 
drummer in such a popular 
band, Charly has become the 
first Latin rock musician of a 
strictly Latin band to be an 
endorser for international 
percussion companies. Charly 
actually took the initiative in 
the deals, approaching Remo 
when they were recently in 
South America and Pro-Mark 
and Sabian when he was in 
Los Angeles, to include him on 
their rosters. 

This accomplishment seems 
a bit ironic, then, when one 
hears that this band from the 
most European of South 
American countries has no 
intentions of remaining a 
secret to all except the 
Spanish-speaking rock'n' roll 
markets. They've already 
recorded two of their songs in 
English with Lena Lovich, and 
hope to put a tour together of 
college campuses in the States 
next March. And their first 
American release, produced 
by David Bowie's musical 
director (and fellow Argentine) 
Carlos Alomar and entitled 
Doble Vida (Double Life), will 
contain two tracks sung in 
English. According to their 
record company, CBS Interna¬ 
tional, Soda Stereo are also the 
first Latin American band to 
put out a CD, and are the first 
band to be interviewed on 
MTV's new program, MTV 
Internationale. 

Though Soda Stereo's songs 
avoid topical themes, world 
politics have probably had a 
profound effect on their rise to 
fame. Several years ago, 
during the Falkland Islands 
confrontations, all English- 
language music was banned 
from the airwaves. This gave 
the hundreds of Argentine 
bands waiting in the wings a 
crack at the big time with their 
own brand of heavily Euro¬ 
pean-based rock'n' roll. If all 
goes as Charly Alberti and 
Soda Stereo hope, the sounds 
of Latin America may soon 
become much more popular to 
non-Latin listeners than in the 
past, and what they hear might 
not sound all that unfamiliar. 

—Adam Budofsky 



As percussionists, when we 
hear about Latin American 
music, we tend to think in 
terms of congas and cabasas, 
sambas and salsas. But at the 
moment, the biggest band 
south of the border is closer in 
spirit to English bands like 
Simple Minds than to the 
rhythms of Airto. Yet Charly 


country, and from any 
city within that 
country, hasthe 
personality of that 
place. The music of 
Argentina is the tango. 
Though we've never 
been into tango, it's 
something that is 
inside of us because 
we've been around it 
since we were kids. 
This is somehow sub¬ 
consciously expressed; the 
spirit of tango is in our music." 

Charly goes on to say that 
their song "Cuando Pase El 
Temblor" ("When The Shaking 
Passes") was the most popular 
tune on their last tour—which 
included huge stadiums in 
Chile and Peru, among other 
countries—and that it retains 



NEWS... 

Mike Baird on albums by 
Eddie Money, Bill Medley, and 
Billy Idol, as well as scattered 
tracks on Kenny Loggins' 
recent release and a recent 
session with Barry Manilow... 
Drummers John Hartman and 
Michael Hossack and 
percussionist Bobby LaKind in 
the studio working on a 
Doobie Brothers album, 
featuring all original members, 
after which there are plans for 
a worldwide tour... 

Paul Garisto is on tour with 
Iggy Pop supporting the new 
release, Instinct... 

Michael Thomas on the road 
with the Bellamy Brothers... 
Rod Morgenstein can be heard 
on Ensoniq Keyboard's 
promotional CD with the 
Dregs, whom he recently 
rejoined forces with to do a 
short tour. He is now a 
member of a new Atlantic 
Records band called Winger, 
which he says is in the vein of 
Def Leppard, Ratt, and Van 
Halen. On a jazzier note, he 
and Danny Gottlieb shared 
drum responsibilities on 
Players' A Dream Come True, 
and when one was on drums, 
the other played percussion. 
Rod also played piano on a 
song he wrote called "Crest 
Hollow" (with Dave Samuels 
on vibes). Dreggs guitarist 
Steve Morse's album was 
finally released in September 
after nearly a year's delay, and 
Rod's instructional video 
became available at the same 
time... 

Rick Allen on the road with 
Def Leppard... 

Josh Frees played on Mickey 
Thomas' soundtrack contribu¬ 
tion, "Dream A Little Dream," 
as well as playing drums on 
camera in Teen Witch... 

Larrie Londin currently in 
Europe with the Everly 
Brothers... 

Jeff Donovan working with 
DwightYoakam... 

Rick Gomez touring with Roy 
Clark... 

Cecil Brooks recently giging 
with Houston Person and Etta 
Jones, and with Michele 
Rosewoman... 

Pat Mastelotto doing studio 
tracks with XTC. 

\t. 


12 














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CHARLIE BENANTE 


Q. I would like to know how to play the beginning of "Indians." Could you write out that intro, 
please? Good luck on your next album! 

Stan Klecha 
Luzerne PA 

Q. I think you are a very dedicated musician and the greatest drummer around! I was wondering if 
you could show me the three fills in the middle of "Panic," where you play by yourself. 

Chris Kelly 
Toms River NJ 

A. Thanks for the good wishes. Here's the intro to "Indians"; play the single bar shown four times. 


MU SEC KEY 


W. 


Ttfn 

m 

SB 


rri~n 



The next three examples are the fills from "Panic." 


= 


m 


3 





JOHN 

SANTOS 


Q. I have learned much from 
your South Of The Border col¬ 
umns in MD. I'd like to know if 
you have written any books on 
conga and Latin drumming. If 
so, how may I obtain them? 

Dick Gratz 
Oxford IA 

A. Thanks for your appreciation 
and interest in my writing. I've 
been working on a book for 
many years. I've felt many times 
that I was near completion, only 
to experience delays due to my 
travels and activities as a musi¬ 
cian and instructor. For this rea¬ 
son, it is difficult to predict when 
this book will be available. I 
love my work a great deal, and 
I really want the book to be 
done right, so obviously I'd 
rather not rush it. However, it 
shouldn't be too long before 
publication, and I do feel it will 
be worth the wait. In the mean¬ 
time, I'm grateful for your en¬ 
couragement. 


DENNY CARMASSI 

Q. The sounds you achieved on the Rock 
Candy sessions are the sounds I love. That 
is what music is all about—sounds that 
please the heart. I would like to know how 
those sounds were achieved, in terms of 
mic's used, tuning, size of drums and thick¬ 
ness of shells, and even what type of set¬ 
ting the mixer and P.A. might need in order 
for me to get similar sounds. 

F.A. 

Lockport LA 


; i 




A. The Rock Candy sessions were done at 
Sunset Sound in Los Angeles, and most of 
the sounds have to do with Ted Temple- 
man, who was the producer, and Don 
Landy, who was the engineer—two very 
talented guys. A lot of the "drum sound" is 
really the room sound; that room is real 


good for recording live drums. It's a pretty 
good-sized room, with cinderblocks from 
about half way up the wall, which make 
the room very "live." The room was used 
to record only the drums in; the guitars and 
bass were isolated in other rooms. 

I've also worked with guys like Ron Nevi- 
son, who produced the Heart records, and 
Andy Johns, for whom I just did some work 
on a Cinderella record. Both of these gen¬ 
tlemen worked with Led Zeppelin. What 
I've learned from them is that those real 
ambient drum sounds are a result of using 
the room to amplify the drums. That 
doesn't always require a big room; 
"big room" does not necessarily trans¬ 
late as "big drum sound." It could be 
a fairly small room, but if it's just 
right it will amplify the sound of the 
drums, and that's what you want. It 
has more to do with the nature and 
construction of the room than the 
sheer air space. That's how you get 
those big, ambient drum sounds. 

Another thing that I've learned 
from Ron Nevison is that there are a 
few ingredients that go into that type 
of drum sound. There's the room, as 
I've just mentioned. Then there's the tun¬ 
ing of the drums, and also the player. Ron 
says that in order to get a real good drum 
sound, the player has to have a good bal¬ 
ance in the way he or she plays. In other 
words, you don't hit one drum harder than 
another, you don't hit your cymbals harder 


than the rest of the drums, etc. 

And when it comes to "miking tips," the 
miking techniques used then were basi¬ 
cally the same as those used now, which 
are no great secret: The drums are close- 
miked and then the room is miked. One 
thing that Ron and Andy both use is two 
mic's way up high—maybe 10'or 15' above 
the drumkit and slightly to one side. The 
mic's are placed fairly close together—only 
as far apart as your ears would be. Instead 
of a big stereo effect with mic's on either 
side of the room, you get the natural stereo 
of how you hear with your own two ears. 
Mic's placed far apart tend to phase-cancel 
each other, anyway. 

For the Rock Candy sessions / used just a 
basic Ludwig drumkit, with a 26" bass drum, 
a 12x15 rack tom, and a 16x18 floor tom. 
They were pretty big drums, especially for 
the time of those sessions in 1973. They 
were the older type of drums—thin plies 
and reinforcing rings. As far as shells and 
that kind of thing go, I don't really think 
they have as much of a bearing on a drum 
sound as the tuning does, and there are no 
real tuning tips I can give you that you 
haven't heard a million times before. It's all 
just a matter of making the drums sound as 
big and good as they can on their own, and 
then further enhancing that sound by re¬ 
cording them in a good-sounding room 
under the control of a talented engineer 
and producer. 


14 


MODERN DRUMMER 




















































































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Q. After reading your article, "The World Of Drum Corps," in the 
August '88 issue, I was surprised to discover that there are all¬ 
female drum corps. Could you please give me any information I 
might need to contact such corps, along with some that are co-ed? 

D.G. 

Cherry Hill NJ 

A. Your best bet for obtaining contact information for the types of 
corps you are interested in would be to contact the offices of 
Drum Corps International (DCI). You can reach them at 719 South 
Main, Lombard, Illinois 60148, (312)495-9866. 


Q. I recently bought a Ludwig five-piece set. I believe that the 
shells are made of stainless steel, yet the welds are invisible on the 
outside. There is no wood whatsoever inside. My question is, what 
kind of drums are these? Everyone I ask has never seen them 
before. 

K.T. 

Clifton Park NY 

A. We forwarded your question to William F. Ludwig, Jr., who 
gave us the following reply: "The shells are in fact made of stain¬ 
less steel, and the reason that 'the welds are invisible' is because 
there are no welds! The shells were drawn and spun from one 
piece of stainless steel. Each square of stainless steel was first cut 
to a circular shape, and then inserted into a huge hydraulic press. 
The press slowly exerted pressure on the steel, shaping it into a 
cup. Then the bottom plate was knocked out in another press. 
Finally, the two edges of the resulting cylinder were spun on a 
lathe to produce the V-shaped bearing edge on each rim. 

"Since the material was stainless steel, no polishing, buffing, or 
plating was involved. We had arrived at this miracle metal through 
a process of evolution in which we had first used brass materials 
requiring brazing, welding, and expensive polishing and chrome 
plating. These drums proved expensive and heavy in weight. Then, 
for several years, we produced a line of aluminum shells. But 
these would not accept chrome plating, since chromium and 
aluminum are incompatible metals. The finish soon pitted and 
sometimes even flaked off, causing expensive returns to our com¬ 
pany for rework. 

"Thus, in 1971, we arrived at stainless steel as the ideal metal 
for all-purpose field and outfit drums. Being press-drawn and 
spun, the dimensions are exact—far more accurate than wood 
shells. However, we had to abandon this fine metal in the late 
1970s when the price of stainless steel zoomed out of sight and 
the drums could no longer be economically produced." 


sharp edges, or other irregularities. These could actually be cutting 
into the plastic strips or snare cord, thus setting them up for 
breakage when you play. 

If these suggestions still do not produce the desired results, you 
might consider some non-traditional methods of attaching the 
snares to the strainer. A number of hard rock players have had 
success using the braided type of shoelace most often used on 
sneakers. These are made of strong fabric, and the braided con¬ 
struction makes them even stronger and difficult to slice through. 
They will tend to stretch, and so will require a "break-in"period. 
But once they are broken in, they can take a lot of tension and 
have proven quite durable under "field conditions." Just make 
sure to get a size that can be fitted into your snares and the snare 
strainer easily. 


Q. I'm having a problem with the material connecting the snares 
to the snare strainer on my Cosmic Percussion snare drum. I've 
tried both plastic strips and store-bought strainer cord, and have 
consistently broken both of them. I'm a heavy hitter, but so are a 
lot of other drummers who don't seem to have this problem. Can 
you offer any suggestions? 

M.B. 

Mt. Pleasant Mills PA 

A. Most often, the consistent breakage of snare-connecting mate¬ 
rial is a result of a combination of factors. Obviously, the more 
snare tension applied, the greater the strain is on the connecting 
material. High snare tension, combined with the added pressure 
of the snare side head pressing on the snares under "heavy hitting" 
will sometimes be too much for the connecting material. A simple 
solution would be to back the snare tension off just a bit to give 
the connecting material a bit of "headroom" for those split-second 
moments of heavy impact. 

Several snare drum manufacturers have begun to use flat straps 
made of nylon webbing for snare connections. These tend to resist 
breakage better than strips of plastic such as you describe. You 
might wish to check into these alternative straps at your local 
drum shop. In addition, check the snare strainer itself for burrs, 


Q. I'd like some advice on how to get a small band going. I'm in 
the 8th grade and live in the middle of nowhere. I have several 
musician friends who are very willing, as I am, to do anything it 
takes. But we don't know quite where to begin. Can you help us? 

M.M. 

Colstrip MT 

A. The best way to get a band going is to sit down with all the 
prospective members and decide what direction you wish to take 
as a group—what your goals are. At your age, your best bet might 
be to put together the type ofgroup that can play popular music at 
a variety of locations and functions. In that way, you will gain 
professional experience while you also gain expertise on your 
instruments. 

There's a lot that goes into putting a band together. Obviously, 
you need to have sufficient equipment with which to perform. 
This includes each member's personal instrument(s), and some 
form ofP.A. system. The type of equipment you are able to use will 
depend a great deal on your budget. Expensive equipment is not 
required at the outset; you just need what is adequate to fulfill 
your needs. As your career improves, so can your equipment. 

As you are assembling your technical gear, you also need to be 
putting together your repertoire. You mention that you are "in the 
middle of nowhere." Music is popular no matter where people 
live; the important thing is to know what kind of music is popular, 
and to cater to that popularity. Versatility is important, because 
you may want to be able to play for a variety of audiences. For 
example, since you live in Montana, there's a good chance that 
country & western music might be popular in your area — espe¬ 
cially with adults. Rock is pretty universal among young people, 
so you might consider building up a repertoire of C&Wand rock 
tunes that are on the charts now, along with a few popular "oldies" 
from those styles. If you'd like to expand your horizons even more 
and play for weddings, family parties, and organizational func¬ 
tions (where mixed age groups will be present), you might want to 
add a few "standards" for older folks, including a few ethnic tunes, 
some Broadway hits, etc. Most of these can be obtained in piano/ 
vocal songbooks available in most music stores, or on albums that 
your parents or your band mates' parents might have. Build up a 
repertoire that will allow you to play for at least four hours in any 
given style, and you should be ready to accept work in almost any 
situation. 

If you plan to specialize in one style, such as rock performed 
only for younger people, realize that you may be limiting your 
potential market for nearby gigs. In that case, plan to expand your 
territory as much as possible. Check out schools, clubs, youth 
organizations, and other job sources within as large a traveling 
area as is practical for you. Again, due to your age, you may be 
calling upon parents or older siblings to transport you to and from 
your gigs, so find out what your limits are right away. Then do 
some research to find out what job possibilities exist within those 
limits. 

Consider staging your own gigs, too. Many bands located in 


16 


modern drummer 











as often as possible!! That's 
Rolf and that's why I play 
You can feel the fire nf Myron's Artsiar 
II set with Tama Pro Custom Snare on 
Pot Be rater s latest release, "Wide 
Awake in Dreamland" 
and as the band tours 
this fall. 


Visit an authorized 
Tama dealer near you 
and find out how you 
can fan same flames of 
your nwn 


Wine Awake 
ip Dream land 


It takes a fiety passion and a killer 
instinct to drive the Pat Benatai Band. 
Second best isn't part of Myron Grom- 
hachar's playing standards or his choice 
ot equipment. 

When we asked him to describe his py¬ 
rotechnic approach to drams, Myron re¬ 
sponded: “Aitstar IPs maple shells have 
the fundamental tore I'm looking 
(or .. a wide open sound with plenty of 
lop and batten end. I want drums that 
can pro.eei.. . ring true from a whisper 
to scream.. .and handle how I want to 
play—which is to hit them as hard and 


ALL FIRED UP 

MYRON 

&AKISIARII 









Pearl's Prestige Custom 851)0 MLX 
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Ottering innovative new features that can be found 
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tire Prestige Custom is for todays most discriminating 
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we think drums all day, every day. Constantly rese¬ 


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If you are the type of player that can only be 
satisfied with a drum set that offers the pure sound 
of maple, the best hardware, features and accesso¬ 
ries. and the most beautiful transparent and opaque 
lacquer finishes you can find, see your local dealer 
for a Pearl Prestige Custom SSCJt) MLX Series Drum 
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modern drummer 


Photo by Lissa Wales 










CHAD 

When one leams that Chad Wackerman landed the gig with Frank 
Zappa when he was just 21 years old, it conjurs up definite images. 

He must be a whiz kid, you think, with a head full of math equations 
to work out the ridiculous rhythms that Zappa writes expressly to 
stump his musicians—or so his musicians have been known to say. 

But Chad emphasizes more than the need for an incredible technical 
prowess; he stresses the necessity of playing many different styles 
authentically. He adamantly tries to shed the image that first comes 
to mind: that of a fusion drummer. 

In preparation for our talk, Chad made a tape of some of the 
recordings that he is most proud of. It's obvious from this selection 
that he can run the gamut from the complexity of Zappa and Allan 
Holdsworth to the simplicity of Colin Hay or Albert Lee. (If you want 
to hear Chad at his simplest, check out Barbra Streisand's One 
Voice concert on video.) 

Chad started playing drums at age six under the expert 
tutelage of his father, Charles Wackerman. He went on to take 
private lessons from such notables as Chuck Flores and Murray 
Spivac, and participated in Stan Kenton's jazz clinics at an early age. 

A gig at Disneyland and an association with keyboardist Jim Cox 
lead to gigs with Leslie Uggams and Bill Watrous. Executing the 
varied styles in those formative years, he says, was a major 
contributing factor to his subsequent gigs, although nothing, but 
nothing could adequately prepare him for the audition with Zappa, 
as he revealed upon his recent return from the road with him just 
days before a tour with Allan Holdsworth. 







by Robyn Flans 


MODERN DRUMMER 


21 







RF: I was amused by the story you told in 
your last MD interview about the Zappa 
audition. The way it came across, it didn't 
go too well. You didn't know how to do 
some of the things he wanted. So why did 
he hire you? 

CW: [laughs] Well, no one else knew how 
to do those things either. I had a certain 
understanding of things like the poly¬ 
rhythms. Polyrhythms are basically large 
groupings of small, odd groupings, but there 
were a lot of drummers who didn't know 
how to play five 16th notes per quarter 
note. So if you couldn't play that, you 
couldn't play five 8th notes over two quar¬ 
ter notes. I, at least, knew how to play 
things like quintuplets, which are five per 
quarter note, or septuplets, which are seven 
per quarter note. So when I saw those 
things, I could play them properly, but I 
didn't know about the large groupings. 
That's kind of the next step. 

RF: Did you have to spend a lot of time 
trying to understand polyrhythms? 

CW: Yes, as soon as I got the gig. 


RF: Before that, what did you know about 
polyrhythms? 

CW: Not much, but if you can understand 
a figure like quarter-note triplets, then that's 
the concept you use to understand those 
larger odd groupings. If you can play five 
16th notes per quarter note, and then you 
see five 8th notes over two quarter notes, 
that's got to be half the speed of the five 
16ths—half as many notes in the same 
amount of space. So if you think of five 
16ths per quarter and play every other one, 
that's going to be the rhythm. So I started 
figuring out these formulas to get the basic 
concept of poly rhythms down. After a while, 
it's like anything else; you can hear it. If 
you see it on paper, you know exactly what 
it's going to be, and you don't have to 
count every note out. 

RF: So this was after you got the gig? 

CW: Yes, once I got the gig, I realized I'd 
better start practicing to keep it. 

RF: What else did you do after you got the 

gig 

CW: We started rehearsing the next week, 
so I had a week at home with an unbeliev¬ 


able stack of music and albums. He's put 
out 50 albums, and a lot of them are double 
albums, so there's so much material to learn. 
RF: What was the hardest piece of music 
you had to learn, and how did you go 
about learning it? 

CW: "Mo And Herb's Vacation." That one 
took me quite a while. I just continually 
practiced it. Even on the road I'd try to 
brush up on it. It's a classical piece, and 
the clarinet has the melody, which is very, 
very bizarre. It has all sorts of polyrhythms 
right next to each other, like a 15 next to a 
14, each one over two or three beats. It's a 
clarinet solo, but the drums are in unison 
with the clarinet, so you have to play every 
note exact. In fact, we did a version of it 
with the London Symphony when we went 
to London to do a classical album of Frank's 
work, and the orchestra had a terrible time 
playing it. I had practiced it and had it 
down exactly, but they hadn't seen it for 
very long, so their rhythms weren't quite as 
accurate. So I actually had to lay out on 
parts. After a few years of working on this 
piece and getting it down, I 
couldn't do it properly, because 
they hadn't had enough time 
to work it out. 

RF: When you first looked at 
this piece of music, what spe¬ 
cifically did you do? 

CW: I began to dissect it bar 
by bar, just trying to figure out 
the subdivisions first, and play¬ 
ing the notes where they be¬ 
longed, in the right rhythm and 
at the right speed. The next step 
was figuring out the sticking, 
because there are so many 
notes, and certain stickings will 
make it easier and make it flow 
better. Then the dynamics 
come into it along with all the 
accents and the final details. 
But with this sort of piece, the first thing is 
just getting the notes played in the right 
places. 

RF: How long did you practice that piece? 
CW: Frank thought we might do it at first, 
so I practiced it a lot, but we ended up not 
doing it. I think Vinnie [Colaiuta] and Ed 
Mann had done it with the rock band as a 
duo. Ed played the melody—the clarinet 
part—and Vinnie played the drum part. It's 
much harder than "The Black Page." 

RF: With music like that, how do you make 
it feel good when you have so many notes 
to play? 

CW: There are so many ways. A lot of 
different drummers can play the same mu¬ 
sic, but they all turn out sounding different. 
I always try to be very relaxed about it and 
still have feel—even if it's something in 17 
or 19. My concept of it is that you have all 
these small subdivisions—all these differ¬ 
ent two's and three's strung along together— 
and you find places where you can put 
backbeats and make it a long phrase. In¬ 
stead of making it very, very choppy, I try 
to flow over the whole thing, and I know 



Vinnie and Terry [Bozzio] do that as well. 
RF: Can it become more technique than 
feel? 

CW: Well, you have to have a lot of tech¬ 
nique to play that kind of thing. But now a 
lot of Frank's stuff is reggae, and it wouldn't 
be appropriate to be as flashy or to put all 
those subdivisions into the music. With 
other tunes, though, that's the way the music 
is written, and you're playing that part, 
which has to be exact. Then there are the 
rock 'n' roll tunes. A lot of it is very open, 
where he hasn't specified a part, so we end 
up making up our own part—unless he 
doesn't like it, and in that case he'll tell us 
another part to play. A lot of it is up to us, 
and I tend not to be as busy on a lot of 
those parts, because the classical sections 
are so busy. 

When you play with Zappa, a lot of 
people assume you're a fusoid drummer 
who just plays very busy. I wouldn't want 
to be known as a fusion drummer, because 
a lot of music that is called "fusion" music, 

I don't really care for. Obviously, I couldn't 
do a Barbra Streisand gig playing like that. 
RF: Streisand's One Voice concert was per¬ 
haps the most opposite to everything else 
you've done, because it was very sparse 
playing. What did that gig require of you? 
CW: It required playing a part that comple¬ 
mented her singing, that didn't get in the 
way, that was tasty and appropriate. It is 
definitely more pedestrian, but there's a 
certain flavor that's still me; I'm just play¬ 
ing a different style of music. With Barbra 
Streisand, you're not there to do anything 
flashy. If it's a groove tune, you're there just 
to supply the groove and set up a nice feel. 
It's not your place to come up with any¬ 
thing wild, too over the top, or too crea¬ 
tive. You have to have good time and groove 
when that's appropriate, and play nice bal¬ 
lad brushes when that's appropriate, and 
be as tasty as you can and support wher¬ 
ever the music is going. You have to know 
when to play a fill, when a chorus is com¬ 
ing up, and not to overplay on the fills. You 
have to play something with enough space, 
yet still with enough intensity to build it 
when it's supposed to build, and bring it 
down when it's supposed to come down. 
In a case like that, where you're not play¬ 
ing too many fills, people are more aware 
of them when they do happen, so you have 
to be more careful with them. You're there 
to fit in with the music and not get in the 
way, whereas a gig with Allan or Frank is 
much more drum-oriented, so you're much 
more in the spotlight. She's so amazing 
that I didn't mind doing that at all. It was a 
fun experience. It's amazing just being in 
the same room and hearing someone who 
can sing like that, let alone playing along. I 
have the same kind of respect for her that I 
have for people like Albert Lee or Allan 
Holdsworth, because she's reached such a 
high level of accomplishment. She can do 
things with her voice that I've never heard 
anybody else do. 

RF: Back to Zappa—could we take a song 


22 


MODERN DRUMMER 






and talk about your approach? Take "Zomby 
Woof," which you included on the tape. 
CW: Well, that's a very old song, so I just 
listened to the arrangement. 

RF: Did you have creative allowance on 
songs that were played before? 

CW: I pretty much played what was played 
previously. On that tune we pretty much 
kept the same feel, though on a lot of them 
Frank will change the feel. He might do it 
halfway through the tour; he might do it on 
stage one night while we're playing. He 
gives visual cues to immediately change 
styles, and everybody just shifts gears. It 
doesn't matter if we've rehearsed it as a 
waltz or a swing tune; if he bangs his head, 
it means heavy metal. If he twists his hair 
like dreadlocks, it means reggae, twisting 
both sides means ska, and a baton in the 
mouth means to play "Carmen." These cues 
can happen any time, so we really have to 
keep our eyes on him. We never know 
what he's going to go into; the show is 
different every night. We rehearsed four 
months for this tour, eight hours a day, five 


days a week. 

RF: How much material did you dis¬ 
sect in four months? 

CW: I think we learned 106 songs— 
seriously. Some aren't as long as oth¬ 
ers. Frank changes the show every 
night. 

RF: So you might do a certain song 
one night and not do it again for how 
long? 

CW: Maybe three weeks. Most bands 
get a set together, go out and do that 
set for months and months. It drives 
everyone nuts to play the same music 
over and over, but Frank changes it 
all the time. 

RF: Within the songs, how much im¬ 
provisation goes on? 

CW: There's probably more improvi¬ 
sation between me and the bass player 
during the guitar solos. That's the most 
open that it gets. Every once in a while 
he'll give me a solo or give some of 
the horn players solos. 

RF : I know you always get a solo with 



CHADWACKERMAN'SSETUP 



Drumset: Drum Workshop in 
custom red finish. 

Cymbals: Paiste. 

A. 7 x 14 Noble & Cooley wood 
snare (or 6 1/2 x 14 or 8 x 14 DW 
brass) 

B. 9 x 10 rack tom 

C. 10 x 12 rack tom 

D. 12 x 14 rack tom 

E. 14 x 16 floor tom 

F. 16 x 18 floor tom 

G. 16 x 22 bass drum 

1. 13" 602 heavy hi-hats 

2. 13" 2002 crash 
3.17" 3000 crash 

4. 18" Rude China 

5. 20" Rude China 

6. 20" 3000 ride 

7. 15" Rude hi-hats (mounted on a 
cable hi-hat stand) 

8. 404 top hi-hat cymbal on top of 
18" Sound Creation dark crash 

9. 18" 3000 thin crash 
AA. electronics rack 
BB. Roland Octapad 
CC. Dauz electronic pads 
Hardware: Drum Workshop hi-hat 
stand, remote hi-hat stand, and 
double pedal with plastic/felt 
combination beaters. The set is 
supported on a Collarlock rack 
system. 

Heads: Remo coated Ambassador on snare with a mylar ring for muffling. Remo coated Ambassadors on tops of toms, and clear 
Ambassadors underneath with no muffling. Remo clear Ambassador on batter side of bass drum with Ebony Ambassador on front. 
Sticks: Vic Firth 58 with wood tip. 

Electronics: Dynacord Add-one with disc drive, Akai S-900 sampler, Roland SRV2000 reverb unit, Yamaha SPX 90, two Roland SDE 
3000 delay units, Roland Octapad, Dan Dauz pads, Barcus Berry triggers, Akai MIDI patch bay, Switchcraft patch bays, DW trigger 
pedals, and three Fostex mixers (eight channels each). May EA miking system with Shure SM 57's on the snare and 10" tom, 
Sennheiser 409's on the 12" and 14" toms, and AKG Dll 2's on the 16" tom and the 22" bass drum. 


MODERN DRUMMER 


23 




















"MOST DRUM SOLOS 
SOUND LIKE A CIRCUS ACT 
TO ME." 


Holdsworth. What is 
that gig like for a drum¬ 
mer? 

CW: That's very, very 
open. Basically, I write 
my own parts, and the 
bass player writes his 
own parts. First, Allan 
writes the guitar parts; 
then we write parts 
that fit with that. 

RF: What about 
material that was 
previously recorded? 

CW: It's still pretty 
open. Actually, Frank said the same thing 
when I joined his band: "Whatever you do, 
don't become a Vinnie clone or a Terry 
clone. I don't want a replica of someone 
I've already had." Allan feels the same way. 
Allan's approach is that he likes to get guys 
in his band who play the music the way he 
wants to hear it, but he never gives us any 
instruction at all. We never talk about it; 
we just play it. 

RF: Take one of the songs you did with him 
and analyze that—maybe "Clown." 

CW: That's off the latest album, Sand. I 
think I was away when he did the basics, 
because he did it with a drum machine 
first. He took the drum machine away, and 
I played over it. 

RF: That was probably more confining than 
others, so pick a song where you feel good 
about the drum part you created. 

CW: There's one called "Tokyo Dream," 
which is on the Road Games record. I could 
play it for you, but I can't really describe it. 
There's a part that matches up to the guitar 
part pretty well, where the rhythms and the 
punctuations are the same. The accents on 
guitar are the same as the drums. I used my 
bell cymbals to match his harmonics, my 
garbage cymbals to match the bass line, 
and a couple of different hi-hats. 

RF: How was that piece brought to you? 
CW: Allan played the guitar part for us. He 
usually has a song section and then a sepa¬ 
rate section that is the solo section, rather 
than using a jazz form ofA-A-B-A, and just 
going over and over that. The tune section 
is fairly strict rhythmically, which isn't very 
typical of him, but then on the solo sec¬ 
tion, it's much more open and a bitfloatier. 

I usually try to hear the music first. I nor¬ 
mally don't think of drum patterns first. I 
try to fit in with what's going on musically. 
RF: So that's a lot of improvisation live. 
CW: Yes. There's still form to pieces, but 
they're very open. 

RF: Where did you learn the art of improvi¬ 
sation? 


CW: Through playing jazz. My father's a 
jazz drummer, and I started learning from 
him. He'd take me to jazz concerts. When 
I got a bit older, I played in the school jazz 
ensemble and jazz bands and went to a 
few Stan Kenton clinics and met Peter 
Erskine, who helped me a lot. I just started 
listening to jazz a lot and played it through¬ 
out high school. I got into rock later, during 
college. 

RF: Who were some of your influences? 

CW: There are loads, and a lot of them are 
really typical ones—people like Steve Gadd 
and Stewart Copeland and David Garibaldi. 

I did listen to them for quite a while at one - 
time. That was when I was in my transcrip¬ 
tion mode—when I was trying to write a 
lot of things out just to figure out what 
other guys were doing, trying to build up a 
bigger vocabulary. I was probably 18 or 19 
at the time, just trying to figure out why 
these people sounded so different. 

RF: Take a few key people that you might 
have listened to a lot and whose concepts 
you might have studied and made part of 
who you are. 

CW: Peter was a big influence at one time, 
because I met him through the Stan Kenton 
clinics. We hooked up when he moved out 
to L.A. to play with Weather Report. I 
wanted to take lessons from him, but be¬ 
cause he knew I was playing gigs already, 
he said that, rather than sitting behind a 
drumset, we could spend afternoons talk¬ 
ing—which we did—and if I had a gig, 
he'd go out and hear me. 

RF: What did you talk about? 

CW: Just concept things. I was playing with 
Bill Watrous's big band at the time, and 
one of the first things he told me was that I 
was playing it much too safe. I was playing 
the parts fine, but playing kind of pedes¬ 
trian fills. 

RF: Is that how you felt about it? 

CW: I didn't realize it at the time. I was just 
trying to set up the band, trying to make it 
easier on the horn players, because it's a 
hard job playing in a big band. But he was 
right. 


RF: So how do you 
change a safe approach? 
CW: That was up to me. 
He would throw out 
these different ideas, and 
then it was up to me. I 
didn't really want to learn 
licks from anybody, be¬ 
cause I had done loads 
of transcribing off 
records, like David 
Garibaldi's Tower Of 
Power stuff. Before 
that, it was Blood, Sweat & Tears records. I 
knew it wasn't good to do that too much, 
because then you start mimicking people 
too much—becoming more of a parrot than 
having something original. I did that a lot, 
so I felt I got enough from a lot of other 
drummers. What I could do was take the 
beginning of a fill and change the end of it 
by putting something of my own in there, 
so it didn't sound like a Tony Williams lick 
or a Billy Cobham lick. 

RF: Can you actually pinpoint things in 
your style and say, "Gee, I got that from so 
and so"? 

CW: I hope that at this point things like that 
aren't obvious for people listening to me, 
saying, "Oh, he got that from so and so," or 
"That's a Steve Gadd lick." I really desper¬ 
ately try not to do that. Sure, I've had a lot 
of influences, but now I'll listen to what¬ 
ever type of music and try to get the flavor 
of it. I don't transcribe licks anymore. Even 
when I practice, I really don't practice that 
many patterns. 

RF: I guess I keep asking about influences 
because there are readers who are wonder¬ 
ing, "How do I become like Chad Wacker- 
man?" 

CW: Number one, tell them not to become 
Chad Wackerman. Really, that's crucial; that 
must be emphasized. I completely under¬ 
stand the importance of learning things from 
other drummers, but you should learn things 
from many different drummers. A lot of 
people have really analyzed Steve Gadd as 
much as they can, and it's as if they're 
looking at him through a microscope. You 
need to do a bit of that. But if you can do it 
with many people, you can have a kind of 
comparison, which I think is much health¬ 
ier. It will also open you up to different 
kinds of music. You should check out Lar- 
rie Londin as well as Steve Gadd, as well 
as Neil Peart, as well as Tony Williams, as 
well as the guy playing down at your local 
club. Even if you're in a small town, you 
should go out and listen to a lot of music. 
Even if players aren't so great, you need to 
hear them and think, "Why doesn't this 


MUSIC KEY 





"Tokyo Dream" 






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24 MODERN DRUMMER 







































1 


GUIDE 


LISTENERS 


Q. For readers who'd like to listen to albums that most represent your drumming, which ones would you recommend? 
(Please list in order ofpreference.) 



Sand 

Atavachron 
Metal Fatigue 
Road Games 
Them Or Us 
Looking For Jack 
Speechless 

You Can't Do That On 
Stage Anymore 


Allan Holdsworth 
Allan Holdsworth 
Allan Holdsworth 
Allan Holdsworth 
Frank Zappa 
Colin James Hay 
Albert Lee 
Frank Zappa 


Relativity 88561-8152-1 

Enigma 73203 

Enigma 73222 

Warner Bros. 23959 

Barking Pumpkin SVBO-74200 

CBS 40611 

MCA 5693 

Rykodisc RCD10081-2 


Q. Which records have you listened to the most for inspiration? 


Album 

Artisl 

Drummer 

Labd/CaUlog# 


Michael Brecker 

Michael Brecker 

Jack Dejohnette 

MCA Impulse 5980 


Bring On The Night 

Sting 

Omar Hakim 

A&M 6705 


8:30 

Weather Report 

Peter Erskine 

CBS PC2 36030 


Tinsel Town Rebellion 

Frank Zappa 

Vinnie Colaiuta 

Barking Pumpkin PW23/336 


Heavy Weather 

Weather Report 

Alex Acuna 

CBS 34418 


Synchronicity 

The Police 

Stewart Copeland 

A&M 3735 


Four & More 

Miles Davis 

Tony Williams 

Columbia 9253 

I 

Heavy Metal Be-Bop 

Brecker Brothers 

Terry Bozzio 

Arista 4185 

_l 


drummer sound as good as so and so?" It's 
really good to hear all levels of players. I 
hear quite a few young drummers who are 
trying to clone someone like Steve Gadd. 
RF: Growing up, it's a real issue learning 
how to listen to someone like Tony Wil¬ 
liams without becoming a clone. How can 
it be used to further who you are? 

CW: I always tell people to steal from 
everybody. Don't concentrate on one per¬ 
son so much, because you need a huge 
musical vocabulary. Then, if you have all 
these statements you can make, you can 
make up your own musical sentence. 

RF: Who else did you steal from? 

CW: I listened to Tony Williams a lot. When 
I was younger, my dad took me to see 
Louie Bellson—big band gigs and things 
like that. Also, I took lessons privately when 
I was pretty young, so I knew how to read 
and write music. 

RF: Is that important? 

CW: Yes it is. It's helped me a lot. 

RF: Were there things you had trouble with 
growing up, and if so, how did you work 
on them? 

CW: When I started taking lessons from 
Murray Spivak, that changed the way I 
played in a very basic way—in as simple a 
way as in making a stroke. The way Mur¬ 
ray teaches, you really analyze howto make 
a stroke, how to play very basic rudiments 
without using any extra energy, being very 
concise and relaxed with it. Many drum¬ 
mers do waste a lot of energy; you can 
tighten certain muscles so much that it can 
actually hurt you. That was a big milestone 
for me. With basic strokes, he showed me 
how to make an up-stroke, then a down- 


stroke for the accent. Instead of coming 
from a very low place on the snare drum to 
a high place for an accent, he had a way of 
doing it that prepared your hand to go way 
up, then down for the accent. It was a 
much more natural way to do it. That was 
his method in a nutshell, dealing with up- 
and down-strokes, and it worked with flams, 
ruffs, and all the roll strokes. 

I really believe that studying privately 
sped up my learning process. My other 
teacher was Chuck Flores, and he's a fan¬ 
tastic teacher. At one time I was just going 
to Murray for hands and reading snare drum 
things—mainly rudiments and basic strokes. 
With Chuck I studied drumset. He had me 
reading out of books with four lines—a 
cymbal line, a snare line, a bass line, and a 
hi-hat line—and then going back and 
switching all the lines. So you would be 
having the bass drum or hi-hat doing more 
complex patterns than you normally would. 

I was very lucky to have such great teach¬ 
ers, and they really saw what I needed to 
work on. And whenever I did a gig, I would 
tape it and bring it in, especially to Chuck, 
so he could hear what I was doing drumset- 
wise and make suggestions. 

RF: How has your formative training had a 
bearing on your career? 

CW: In various situations, it's been very 
helpful. There are a lot more employment 
opportunities if you can read. For gigs where 
there is no time to rehearse and they need 
somebody immediately, you sit down and 
read the notes. I used to rely on reading a 
bit too much. I wasn't listening quite 
enough. 

RF: Why is that a problem? 


CW: On Frank's gig, you can't read music, 
because then you won't be able to see his 
visual cues, plus the lights are going on 
and off. So you have to memorize things 
rather than rely on written music. In a rock 
'n' roll situation, where things don't have 
to be so specific, reading music is that ex¬ 
tra step you don't really need. When I 
started rehearsing with Frank, I started us¬ 
ing my ears a lot more. 

RF: What did you do when Peter Erskine 
told you that you were too safe? 

CW: When Peter said that, I knew I had 
enough technique where I didn't have to 
be playing like that. It didn't necessarily 
mean I should play faster or flashier, but 
just with a bit stranger fills, a bit more 
random. I think it was more the fills I was 
concerned with, setting up things, not start¬ 
ing from the first tom down to the last one, 
mixing up all those voices much more. 
Also, I started thinking more orchestration- 
ally. Instead of learning a bunch of licks 
and repeating them, you can think of things 
like voices. I keep my tom-toms wide open, 
and they're the closest things I have to 
melodic notes, so I think of those voices 
melodically. I think of other things percus- 
sively, like snare drums. Or they could be 
brass sounds like trumpets—which cym¬ 
bals are like—or the bass drum could be 
the bottom voice, like how a choir might 
play over a brass ensemble or something, 
and having things answer back in state¬ 
ment and answer. 

RF: What do you mean by that exactly? 
CW: It's like we're having a conversation; 
it's like jotting down the rhythms of our 
conversation of the different pitches and 


MODERN DRUMMER 


25 
























Allan 

SCHVARTZBERG 


The 

Working 

Drummer 

"What do you think?" asks Allan 
Schwartzberg. "Should we take our chances 
here, or should we make a move over to 
Eighth Avenue?" 

His two musician-friends in the back of 
the car who are hitching a ride analyze the 
situation and advise the latter. Schwartzberg 
nods in agreement and adroitly maneuvers 
his Mercedes from Sixth Avenue's far right 
lane over into its far left lane like a cool 
and seasoned cabbie. Quickly he turns 
down a Manhattan sidestreet and escapes 
the traffic snarl behind us. 

It turns out to have been a smart move. 
Eighth Avenue is certainly less congested, 
so we make it up to midtown in pretty 
good time. The two musicians in the back¬ 
seat are dropped off at their studio minutes 
before their next session. Schwartzberg, 
however, won't fare as well. He knows he'll 
be a few minutes late for his next session, 
thanks to another traffic tie-up. This time 
it's on the street where he normally parks. 

"What happens when a session player is 
late for a session?" I wonder out loud. 
Schwartzberg shakes his head. "These days, 
you gotta really try to be on time for every 
session," he says, as we finally get to the 
parking garage. Schwartzberg pulls in, 
screeches to a stop, and gives the car keys 
to the attendant. I help him lift his gear out 
of the car. Together we lug it a half block to 
the recording studio. "When you're late, 
you hope that you can come up with an 
amusing excuse," he says. "Last week, I 
told a producer, I'm sorry to be late, but 
I'm still not as late as your checks!'" 

You'd think the pressures of negotiating 
New York traffic, running from session to 
session, playing jingles one minute and 
album tracks the next, working out parts to 
songs you have never heard before, hoping 
like hell that what you play is indeed what's 


needed to be played, skipping lunch and 
sometimes supper too, trying to make it 
back to Brooklyn in time to see the wife 
and kids before bedtime—you'd think that 
after nearly 20 years of all this, Allan 
Schwartzberg, one of New York's elite ses¬ 
sion drummers, would be tired of the heavy 
grind. 

"I love it," the admitted workaholic and 
perfectionist laughs. "I really do. I love being 
busy. I love making music and good money. 

I like it best when I'm so busy that I don't 
even have time to think." 

Allan Schwartzberg is busy. There's no 
denying that, especially not today. It starts 
the night before, like it always does. He 
checks in with Registry: three messages, 
three sessions. He checks his calendar. A 
couple of weeks ago he penciled in a live 
date with Maureen McGovern at the Twenty 
Twenty Club. Tomorrow his day will be 
consumed with work. That makes Allan 
Schwartzberg smile. 

That night Schwartzberg calls me and 
says, "Come into the city tomorrow. It's a 
good day. You'll get a good idea of what 
I'm about and what this business is about. 
Meet me at 10:00 at Hip Pockets Studio on 
West 20th Street. 

The next day I arrive on time. Allan is 
already behind his drumset. He's working 
on a fill to add to the Budweiser beer jingle 
he and the other musicians hired for the 
session will be cutting in a few minutes. 
They'll have but an hour to learn it, perfect 
it, and record it. 

The producer calls the session to order. 
He announces some last-second changes. 
Then Schwartzberg and the rest of the mu¬ 
sicians run through the jingle, which will 
be sung in Spanish by Jose Feliciano later 
on and used to sell beer south of the bor¬ 
der. 

"Again," says the producer. "Let's change 
the intro. Two beats of C, then another 
beat, and we're off." The session players 
do it again. The producer confers with the 
engineer in the control room. In the studio, 
the guitarists chat and Schwartzberg 
stretches. 

The producer is back. "One more," he 
says. In all, there are close to 20 attempts 


"NEW YORK 
DRUMMERS 
PLAY ON TOP OF 
THE CUCK 
BECAUSE 
THERE'S 
MILLIONS 
OF PEOPLE 
JAMMED INTO 
ONE TOWN, 
TALENTED, 
COMPETITIVE, 
NERVOUS, 
AND FREEZING 
IN THE WINTER. 
WE'RE A 
PRODUCT OF 
OUR 

ENVIRONMENT." 


by Robert Santelli 


26 


MODERN DRUMMER 






MODERN DRUMMER 


27 


Photo by Ebet Roberts 









Photo by Ebet Roberts 


to make the jingle right. 

But by the end of the hour 
the producer has some¬ 
thing he can take back to 
Budweiser and feel good 
about. 

While the other musi¬ 
cians pack up, Allan 
comes over to me and in¬ 
troduces himself. "Funny, 
you don't look Italian," he 
says. "Come on, we've got 
to go. We can talk in the 
car on the way to my next 
session. It's in 30 minutes, 
and I've got to drop off 
two friends." 

RS: You're a very success¬ 
ful New York session 
drummer. You've been 
doing this sort of thing for 
a long time. Others like 
yourself have come and gone. What's your 
secret? How do you stay in demand? 

AS: It mostly has to do with talent and 
knowing how to get along with the right 
kinds of people. There are a bunch of mu¬ 
sicians that are in the bull's-eye. The differ¬ 
ence between us could boil down to who 
brings the best work attitude to the ses¬ 
sion—who does this producer want to 
spend some hours with. 

RS: You're in the bull's-eye, no? 

AS: Yeah, you could say that. It's been that 
way for quite some time. 

RS: And how, exactly, did you get there? 
Can you be specific? 

AS: I have a reputation for caring about my 
performance and what my playing sounds 
like. I never walk into a session without 
that attitude. It's my ego problem that's 
working to the producer's advantage. Ev¬ 
eryone gains by it. The drums are an unbe¬ 
lievably important instrument. It's the mo¬ 
tor that runs the beautiful car. If I'm happy 
with my drum performance, then the people 
who hired me and believe in my abilities 
are going to be happy. What makes me 
happy is a great performance. It doesn't 
have to be a showy type of performance. 
Also, I don't care who comes up with what 
I play. The music is what's important, and 
in the end I'll get credit for it anyway. 

RS: Let's go back a bit in time. How did 
you get into session work in the first place? 
AS: For a long time I was a jazz player. I 
used to be the house drummer at a place in 
New York called the Half Note. I played 
with guys like Jim Hall, Ron Carter, Zoot 
Sims. I also went on the road for a little bit 
with Stan Getz. I wasn't really having fun, 
though. I definitely wasn't making any 
money. My bar bills were much more than 
I was getting paid. This was 18 years ago. I 
used to eat, sleep, and live jazz. All I wanted 
to be was a drummer who played like a 
combination of Elvin Jones and Tony Wil¬ 
liams. 

RS: You and a lot of other drummers. 

AS: That's definitely true. But see, I real¬ 
ized I wasn't happy, and neither were most 


of the other jazzers then. So I left it. At the 
time, jazz was going through a severe de¬ 
pression. No one was listening to that mu¬ 
sic in, say, 1969 and 1970. It was terrible. I 
had to survive somehow. And I wanted 
above all to keep playing the drums. 

RS: Were you married at the time? 

AS: Yeah, but it wasn't to the right girl. It 
wasn't the take, if you know what I mean. 
But I've since remarried. I'm very happily 
married now, with two beautiful, loud kids. 
RS: Having a wife and not making any 
money must have been tough. 

AS: It was. Plus, I just wasn't having any 
fun playing jazz. 

RS: So what happened? How did you 
change gears? 

AS: I heard Roger Hawkins' first backbeat 
on Aretha Franklin's "Chain, Chain, Chain" 
record. Then I heard a James Brown record 
called "Got The Feeling." You've got to 
understand that I never cared about any 
music but jazz back then. Growing up, I 
didn't even listen to the Beatles because 
their time was all over the place. But when 
I heard Aretha and James Brown, well, their 
music just went up my spine. What they 
sang was as cookin' as anything I had ever 
heard. I discovered other acts, like the Me¬ 
ters. So, basically, I came into contempo¬ 
rary music through R&B. It was more of a 
logical channel for me than to pursue rock 
'n' roll, because R&B is more closely asso¬ 
ciated with jazz. 

RS: Was this a gradual or an abrupt transi¬ 
tion? 

AS: It was gradual. It really didn't happen 
overnight. But I knew things were coming 
along when I played on some of James 
Brown's records, and he liked me a lot. It 
was a great accomplishment for me to have 
The King of Soul think that this Bar Mitz- 
vah boy had some, too. 

RS: Did you also start to discover rock 'n' 
roll at this time? 

AS: Yeah. I started hearing and loving the 
Beatles the way other people were. I lis¬ 
tened to a lot of other things, too, like Little 
Feat, Led Zep, and Hendrix. 


RS: What about record¬ 
ing and making records 
back then? What was 
your approach? 

AS: First of all, there 
was a lot more of it 
then—single artists 
without bands, and lead 
singers wanting to 
stretch out without their 
regular guys. I felt at 
home in the studio. I 
loved the control. All 
jazz records back then 
were one take. Three 
hours in the studio, and 
you had yourself an 
album. I never got into 
that concept of record¬ 
ing. I like the idea of 
being able to perfect 
what you play. I think 
my approach has al¬ 
ways been the same: trying to find the per¬ 
fect beat for a particular piece of music. It's 
like making records the way composers 
write songs. 

RS: How did you work your way into steady 
session work? 

AS: It was just like today; you have to know 
the right people and they have to love you. 
You either have to have an uncle who owns 
a recording studio and who can introduce 
you to all those people you need to know, 
or you have to be an amazing player who 
can cover all kinds of music so well that 
producers are practically forced to hire you. 
Those were the only two ways to break 
into the studio back then, and it's the same 
way now. 

A bass player named Don Payne gave 
me a shot at doing jingles. The first one I 
ever did was for Kent cigarettes. I went into 
the studio and worked as hard as I could so 
that what I came up with sounded special. 

I tuned the drums before the session, which 
nobody was doing then. Studio guys had a 
tendency to get a bit jaded. They usually 
walked in and played the drums just the 
way they found them. In New York, every 
studio has its own set. But I didn't like the 
way the drums sounded, so I tuned them. 
Everyone was pretty surprised by this. Then, 
I'd always ask for another take if I didn't 
think the producer got my best perform¬ 
ance. I'd always go into the control room 
and listen to the playback, which wasn't 
common for musicians to do in those days. 

I really cared. Every little dinky demo I did, 
I cared about. It turned out to be to my 
benefit. Word got around. I was a new 
face, a new guy, and producers were look¬ 
ing for new faces. Producers are still al¬ 
ways looking for new faces, which is a 
bitch. That's why I always feel the pressure 
of staying one step ahead of everyone in 
the business. 

RS: You seem to thrive on pressure. 

AS: Yeah, but I'm not so sure it's healthy. I 
mean, I did 30 sessions in a week on a 
number of occasions during the late '70s 
and early '80s. Talk about pressure—I feel 


28 


MODERN DRUMMER 




L 1 

1 S T E N 1 

E 

R S ’ G l 

J 1 


D 

E 


Q. For readers who'd like to listen to albums that most represent your drumming, which ones would you recommend? 



Peter Gabriel 
Flesh And Blood 
Crash Landing 
Goes To Hell 
Reality 

Gene Simmons 
NY Cats Direct 
Parting Should Be Painless 
Nils Lofgren 


Peter Gabriel 
Roxy Music 
Jimi Hendrix 
Alice Cooper 
James Brown 
Gene Simmons 
John Tropea 
Roger Daltry 
Nils Lofgren 


Atco 36147 
Atco32102 
Reprise 2204 
Warner Bros. 2896 
Polydor (Out of print) 
Casablanca 826239 
DMP CD-453 
Atlantic 80128 
A&M4756 


Q. Which records have you listened to the most for inspiration? 



Various 

Various 


John Coltrane 
Miles Davis 


Various 
Various 
Various 
Look A Py Py 

Living In The Material World 


Aretha Franklin 
James Brown 
Bill Evans 
The Meters 
George Harrison 


Elvin Jones 
Tony Williams/ 
Philly Joe Jones 
Bernard Purdie et al 
Various 
Various 

Zigaboo Modeliste 
Jim Keltner 


Various 

Various 

Various 
Various 
Various 
Josie 4011 
Capitol 16216 



Photo by Steven Ross 


okay now, but I'm not sure I want to see 
the X-rays. 

RS: How did you come up with a steady 
stream of good ideas and quality perform¬ 
ances with that kind of workload? 

AS: There were some tough spots. There 
are some people who still don't like me 
because of the way I was in those days. I 
got involved with drugs, and I did a lot of 
drinking. I was always on the edge. But I 
had to deal with the pressure somehow. 
Fortunately, I learned before it was too late 
that those substances turn you into an ag¬ 
gressive asshole with too many suggestions. 
RS: So you've given up drugs and alcohol? 
AS: With the exception of an occasional 
beer, yes. I stay away from both booze and 
drugs. They could have and would have 
destroyed my career like they destroyed 
the careers of so many other studio musi¬ 
cians. I used to call what I took "Einstein"; 
now I call it "losing powder." I didn't want 
to lose, so I just stopped using drugs cold. I 
haven't touched the stuff since. And I won't, 
because I'm really frightened of losing what 
it took me so long to get. 

RS: What about the business end of being a 
session musician? Is it as lucrative as many 
musicians say it is? 

AS: It's not as lucrative as it used to be, 
because there's not the volume there used 
to be. But there are a bunch of us who are 
still cranking out a nice living. I'm not sure 
it compares to what, say, the drummer in 
Bon Jovi's band is making, especially if he 
has a piece of the band and a good ac¬ 
countant. The money to be made in the 
studio scene is in the writing end of it. 
Anyone who tells you the studio scene is 
like it was in the late '70s and early '80s is 


not telling you the truth. It's 
the technology that's cutting 
into things, and it's the quality 
of drumming that you hear 
from young drummers these 
days. I used to make a lot of 
money drumming for self-con¬ 
tained bands like Alice Coo¬ 
per and Kiss when it came time 
for them to make a record. 

RS: You haven't just done stu¬ 
dio work. I know you've 
toured with some name artists 
in the past. 

AS: I went on the road with 
Peter Gabriel, Mountain, B.J. 

Thomas, Pat Travers, and a few 
others. 

RS: Is there a reason why you haven't done 
more touring? 

AS: I never thought I'd enjoy playing the 
same songs every night. But lately I've been 
itching to go on the road. Every so often it's 
a refreshing experience. At one time I even 
thought I might want to join a full-time 
working band. I seriously thought about 
joining Journey a couple of years ago. This 
is a funny story. The band flew me out to 
California to audition. I was flattered that 
they did that. Later, I found out there were 
50 drummers auditioning before me as well 
as after me. Anyway, I practiced for about a 
week before the audition. I learned all 
Journey's songs. At the audition I played as 
hard as I could for the first tune. I'm a big 
believer in first impressions. Well, the band 
liked what they heard. A couple of guys 
said, "Hey, that was pretty good. Let's do it 
again." I said, "Wait," huffing and puffing. 
"Whoa, let's just take a minute." You could 


see my heart pounding through my shirt. 
Well, that was it for me. They didn't want 
me to die right there at the audition. 

After that, I knew I was crazy to think I 
could play 38 songs a night with a band 
like Journey. Session work is the right kind 
of work for me. I belong in the recording 
studio. When I get behind a good set of 
drums, and I look around at all of the great 
musicians I'm playing with, I feel comfort¬ 
able, satisfied, and at home. 

It is 11:45 A.M., and we are in the mid¬ 
town Manhattan office building where 
Crushing Enterprises is located. Allan is here 
to do some drum programming and over¬ 
dubbing for a Pillsbury project. 

After a few hellos, Schwartzberg is 
handed the music for the jingle. He steps 
into one of the recording cubicles, which 
seems to have been a broom closet before 
the office space on the floor was made into 

fmKruiirtf iM\ pjt£i‘ 53" 


MODERN DRUMMER 


29 










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1 ———-—■ 

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linn . 

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30 


MODERN DRUMMER 






























































































































































































































































































































































































































* 



MODERN DRUMMER 


31 












































































































Photo bv Tom Copi 



P romptly at noon one bright, warm day this past summer, 
Lionel Hampton burst out of the bedroom of his Lincoln 
Center apartment. He looked around his living room, 
with that great view of Manhattan, and gave me a big smile. 

But he seemed preoccupied. "Hey Gates," he said. "I've got this 
tune on my mind. Ideas began coming to me a little while ago. 
And I have to work them out." 

Hamp moved over to the vibes, set up near the couch. He tried 
a phrase, then another, experimenting with various rhythms. Pro¬ 
gressively, a little composition took shape, as he continued to add 
and subtract from it. After about five minutes, he seemed satisfied, 
the piece having been completed. He sat down and began to talk: 

"I had to do that, man. If I had just done the interview without 
going to the vibes first, I wouldn't have been able to concentrate. 
By getting my ideas together, I straightened out what was on my 
mind, and I feel better. My little tune needs some more work. But 
now I know what to do with it. 

"Playing is my way of thinking, talking, communicating," he 
said. "I've always been crazy about playing. Every day I look for¬ 
ward to getting with my instruments, trying new things. Playing 
gives me as much good feeling now as it did when I was a bitty 
kid. I think I love it more as I get older because I keep getting 
better—on drums, vibes, and piano." 

Hamp—an intense, happy man—has no identity problems. From 
the time he was "a bitty kid," he knew what he wanted. Hamp was 
a drummer as far back as he can remember. He initially banged 
around his mother's kitchen, creating patterns on pots and pans. 
Sometimes he'd use the rungs of a chair as drumsticks and the bot¬ 
tom of a wooden chair as his drum. Until he got his first drum, he 
used whatever he had at his disposal. 

Hamp was born 80 years ago in Louisville, Kentucky. His family 



encouraged his musical inclinations, but only his father, a promis¬ 
ing pianist who was killed during World War I, was deeply musi¬ 
cal. He lived briefly in Birmingham, Alabama, with his mother and 
her parents, Richard and Lavina Morgan, after his father passed 
away. When his grandfather, a fireman on the Louisville & Nash¬ 
ville Railroad, was transferred to Chicago, the family picked up 
stakes and moved north. The youngster was surrounded by warmth; 
his mother and grandparents wanted only the best for him. Be¬ 
cause his kin didn't approve of the rowdy atmosphere in the 
Chicago public schools, he was sent to Holy Rosary Academy in 
Kenosha, Wisconsin, not far from Chicago. 

"That's where I met Sister Peters, a Dominican nun, who was a 
super drum teacher," Hamp pointed out. "She taught me the 26 
drum rudiments and how to read music. She wasn't easy. If I didn't 
do the right things, she'd take my heavy marching-band sticks and 
beat me on the knuckles, or work me over with the long, pointed 
shoes she wore. The Sister couldn't take it when her students were 
lazy or careless. 

"Because of her, I became a drummer who could really play the 
instrument. In addition to being a strict disciplinarian, she realized 
she had to give me a little room to be myself, so Sister allowed me 
to improvise during my lessons. She'd say, 'First you play the rudi¬ 
ments the way they're written, then you can do them your own 
way.' By doing this, I learned to play all the variations of the 
rudiments. Each one became second nature to me. So when I 
started to play with other musicians, I could execute them in a 
very natural way. I was lucky; the Sister gave me some good 
direction. 

"Jimmy Bertrand was another terrific teacher," Hamp continued. 
"When I was coming along in the 1920s, he could be seen and 
heard with the Erskine Tate Band at the Vendome Theater in 
Chicago. We kids went to the theater all the time to dig him. A 
great showman, great at everything when it came to percussion, 
Bertrand really knew his job. He swung the rudiments and had a 
fantastic beat. All of us fought to get seats down front so we could 
see how he worked. 

"Bertrand had a lot of drums and cymbals; he used temple 
blocks and timpani and played xylophone, too. Everyone inter¬ 
ested in drums, particularly in the Chicago area, admired him. 

"I never actually studied with Bertrand," he noted. "But I found 
out where he lived and made an appointment to visit him. Ber¬ 
trand didn't have time to give me lessons because he was so busy. 
But he showed me some new ways to play paradiddles and howto 
play scales on the xylophone. Jimmy was a real musician. That's 
rare in any era. He could read very well and adapt to any sort of 
music. Tate was into all styles; he had to be. When an orchestra 
was in residence at a major theater, it had to play everything. 
There was such a variety of acts that worked at the Vendome. And 
the shows changed quite frequently. 

"That's why Tate had great musicians like Bertrand, pianistTeddy 
Weatherford, who later worked in China, and Stomp Evans, a little 
guy who used to stand on a box when he took his solos on 
baritone saxophone, and Louis Armstrong—need I say more?" 

Drummers remained on Hampton's mind as he spoke about 
some other early influences. "There was a guy known as 'Snags.' 
His real name was Clifford Jones. What a tremendous showman! 
He was the one who flipped sticks up in the air and caught them 
without missing a beat." 

The late Barney Bigard, the great New Orleans clarinetist, de¬ 
scribed Snags in his book With Louis And The Duke (Oxford 
University Press): "He had only two teeth, and so the people called 
him 'Snags'....He would put the sticks under his arms, through his 
teeth, bang them on the floor, and catch them. He was a sensa¬ 
tion." 

"Then there was Jasper Taylor, with the Dave Peyton Orchestra," 
continued Hamp. "The orchestra performed at another big place 


32 


MODERN DRUMMER 



in Chicago, the Grand Theater. Taylor's specialty was the wash¬ 
board. He could get to audiences by doing some impossible things 
on the 'board. But, like Bertrand, he was a complete musician. 
Taylor didn't have any trouble reading music and played all the 
percussion instruments. As I said, you had to know in order to play 
with those bands." 

Studying became important to Hampton early on. He viewed it 
as the means to becoming the sort of player he admired. After 
moving to another private parochial school in Chicago when the 
Holy Rosary Academy was relocated, he found an organization 
that was to be a key source of his musical education. 

"One day, while I was walking home from St. Monica's Gram¬ 
mar School—the place I attended after coming back to Chicago—I 
heard some music coming out of a mansion about a block away 
from school. This large building had been given to the newsboys 
of the Chicago Defender, a black newspaper, by Madame Schu- 
mann-Heink, the great opera singer. I found out that the music was 
being played by a band of newsboys, with the instruments pro¬ 
vided by Robert Abbott, the publisher of the paper. The great thing 
about this deal was that you could get free lessons and play in the 
Chicago Defender Newspaper Boys Band if you signed up as a 
newsboy. I got involved right away! 

"When I joined the band, there wasn't a position open on 
drums. So I carried the bass drum during street parades and con¬ 
certs in the park, which were our key activities. I did that for 
several weeks, then the bass drummer left and I took his place. I 
was very ambitious. Before long, I was noticed and became snare 
drummer in the band. 

"Major N. Clark Smith, our teacher and the band's director, was 
a fine musician who knew how to communicate with young 
people," Hamp explained. "He had a staff of eight teachers and 
kept us very busy. I got to the mansion at 3:30 in the afternoon, 
right after school, Monday through Thursday. I practiced, took my 
lessons, and played with the band and the concert orchestra as 
well. 

"It was great for a youngster trying to find his way in music. 
There I was at 13, getting all this wonderful training. 

Major Smith wanted his students to really know music. 

One day, after giving me a drum lesson, he said, 'Any¬ 
one who plays drums should know harmony.'A gradu¬ 
ate of a great music school in Heidelberg, Germany, 

Major Smith became my professor in solfeggio har¬ 
mony. After a while, I began playing xylophone and 
timpani, and developed my reading to the point where 
I could handle difficult concert music—overtures and 
things like that. 

"I was a step ahead of the other drummers because 
of the training I had received from Sister Peters. 

With that background and what I learned from 
Major Smith, I really came out ahead. They 
gave me the tools I needed to become a 
well-rounded percussionist." 

During the three years Hampton 
studied music and played with the 
Chicago Defender Newsboys, he lis¬ 
tened to recordings, trying to develop 
a jazz concept. "My idol was Louis 
Armstrong," he said. "I took his so¬ 
los off records, note for note, and 
played them on the bells or the xy¬ 
lophone. I wanted to understand 
how he thought and put things to¬ 
gether. Once I grasped his ideas, 
and later those of people like Cole¬ 
man Hawkins and Benny Carter and 
a few others, I began to get my own 



thing going." 

Hampton worked in and around Chicago as a drummer—on- 
the-job training that would help him progress. One of the musi¬ 
cians he gigged with was saxophonist Les Hite, who would later 
play an important role in his career. By this time Hamp had his 
own drumset, "with a light inside the bass drum, temple blocks— 
the whole thing," he recalled. "When I was about 16, I 
left town for the first time, with Detroit Shannon's band. 
We got stranded somewhere. But it didn't matter to 
me. I would have gone with any band, just as long 
as I could play drums. I was beginning to play 
well. My time was firm; I knew how to use 
my foot and make accents. Older mu¬ 
sicians liked to work with me be¬ 
cause I made them feel good." 

In 1927, at 19, Hampton 
moved to California with his 
aunt, who got a job in a motion- 
picture studio. He had been 
asked to come to the Coast by 
Les Hite; soon he was playing 
with a series of bands that either 
featured Hite or were led by him. 

"My first gig on the Coast was 
with the Reb Spikes band," 
Hamp recalled. "I had no 
trouble with the band's charts 
because I was a good reader 
and could make the arrange¬ 
ments swing. I also played with 
Curtis Mosby's group. He was a 
drummer, too. But I persuaded 
him to be just the front man 
while I played drums. 



MODERN DRUMMER 


ronlinuiHf on v fuff 

33 


Photos on this page courtesy Institute of Jazz Studies, Rutgers University 



















































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IAN PAICE 


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ihe cymbals always cut 
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I'm using tine 3000. are just 

f reat and i realty tove 
lose,.. Paiste are the only 
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NICKO MCBRAIH 

...ft/ly choice of cymbals 
has always been Patefe... 
itiey have exactly the fight 
ingredients.. ,1he 3000s are 
a much more robust cym¬ 
bal therefore they can take 
an awful Jot of p unish¬ 
ment... they are marvelous 
cymbals for our kind of mu¬ 
sic.,. the cymbal quality is 
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make the cymbals... 


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7 


CHARLIE SEN ANTE 

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BOBBY BLOTZEfl 

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it shows In the workman¬ 
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plan to be with Paisfe the 
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TICO TORRES 

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me m an arena situation, 
plus, in the studio, lo have 
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dropping..The 2002 is my 
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Linear 

Drumming 


by Gary Chaffee 
Transcribed by Lyman Mulkey 


MUSIC KEY 


FT j 

aa m 


There are basically three ways of creating time 
feels in rock drumming. The most common way is 
through the use of cymbal ostinatos. The term 
"ostinato" means "a repeated rhythm," so with 
cymbal rhythms the most common would be quar¬ 
ters, 8ths, or 16th notes. This method has been 
around for a long time, and the majority of time 
feels today are still based on cymbal ostinatos. 

When you play a cymbal ostinato using 8th notes, a lot of the 
notes are being played by more than one voice. About half of the 
notes in the following example are played together. This happens 
in all cymbal ostinatos, because one voice is always playing. 
When two voices strike at the same time, we call it layering. 


JC X 

°-T— 

> 

K X V X X 

J‘ r . .* 

> 

n~r 

* — n- 

J -J J.-J-a 

-p - p— r*- -f- r— 


Linear Phrases 

There are two newer ways of playing time besides layering. 
These are called linear phrases and sticking phrases. "Linear" 
means "resembling a line." When you play linear time, you're 
playing a single line of notes broken up between various parts of 
the drumset. There are no points where two voices strike at the 
same time. 

In linear phrasing there are basically six types: The first is The 8 
(six notes in the hands, two with the foot): 




R 

,■ 


I 


There is also The 6 (four notes in the hands, two with the foot): 
L 


R 

3^ 


R L 

lL JL 


In addition, there are also three odd groupings—The 3 (two notes 
in the hands, one with the foot): 


The 5 (four notes in the hands, one with the foot): 
R L R L 


and The 7 (six notes in the hands, one with the foot): 

R L R L R L 


Now that we have looked at the basic patterns, let's concentrate 
on The 8. The first thing we can do is make a time feel out of it by 
moving the right hand to the hi-hat. 




£ 


Rock feels generally contain accents. We'll put accents into the 
sticking by placing a left hand accent on the "ah" of beats 1 and 3. 





If we want a more common 2 and 4 accent, we must bring the 
right hand over to the snare drum. 






and The 4 (two notes in the hands, two with the foot): 


R i 



All of the above examples are similar in that they're all even, they 
all end with two bass drum notes, and they all use single sticking. 


Once you get the basic accent line down, there are a few things 
you can do to color the phrases and make them more interesting. 
One thing would be to divide any of the notes into 32nds. Here 
they are on the first and third beats of the phrase. 


> > 



.:ff= 


D % - m M _J 






u '_—_ M A. _._ _ —1 


36 


MODERN DRUMMER 





































































































































































Here's an extended example using this technique. 





j 



= 

i j. = , 

-j * 



im 



J — J 

j l-j-j J i j 


You can also open the hi-hat to achieve a longer sound. 


J==r 

j 

JT\ 

> 

\ = 

n A ._ 


— 1- -1 - 

-;-r--n 

** i_J 


* 9 

—— n 

■ ■ ii - 1 - —n 

■ - jzi- 


ir "• — I] 


Here's a four-bar example using 32nd notes, accents, and open hi- 
hat 


> 




U—— ■- 

h—-J * * —*—J-- 

n — - J- J ; 

S-——--— —> 

C=* -—- i 


Another one of the exciting things happening today is the play¬ 
ing of more time feels using the full set (including toms), as 
opposed to cymbals only. Linear drumming works very well for 
doing that. 


> 



When you work on linear lines, don't be satisfied with just 
doing them one way. Vary them to develop flexibility around the 
set, and make music with the phrases. 

Sticking Phrases 

Another way of playing time is with varied stickings. One of the 
most common is a variation of the paradiddle. 



Again, play the right hand on the hi-hat and the left hand on the 
snare drum. 


TT 




i 


It's also good to work on bass drum phrasing along with the new 
linear sticking pattern. 



I 


=SE 


j =,= 0 -j = m jot f 

■ * * * * * * 


^ j ,.J 


4 


Linear phrasing doesn't always work well for fast time playing. 
It's better for medium to slow tempos. As you can see, the phrases 
are more syncopated, so they're good for funk time playing. If you 
want to use them in a rock groove, you'll need to play shorter 
versions, less of them, and mix them into the groove. Here's an 
example: 

> > 


Now, add accents, open hi-hat, and toms. 


> 



a 

r=^ 


i 


J~r 



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MODERN DRUMMER 


37 













































































































































































































































































































> > 


_; 

0-— 

< | : * m d 








■-*—“i 




r 

=P- 

^3 FT*’}. ^S-,, 


--F=J 

- ) =f 


Another thing you can try is playing the stickings in different 
ways on the set. The next example has the same sticking pattern 
(RLLR LRRL), with the right hand on the ride cymbal bell. 


Now, keeping the right hand on the cymbal bell, put all of the 


unaccented left-hand notes on the hi-hat. 

> a 

j j j J 


—*- ■ ■-$—*—^ 

-*- 1 

> 

> 0 

j j j j -j j * 


L * : —T+r ” ; 

T- ’ ^ 


Sticking variations can also be used for special feels like the 
half-time/double-time feel. Here's a 32nd-note pattern using a 
RLRR LLRR sticking. 




Mt * 1 


INTRODUCING 

THE BEVEL 

pniiM PRACTFCE PAD S 


FROM 



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R L R R L L > 

* j J ^ J j y j 

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with one bass drum added. 

1> 0 

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There are many ways to apply linear concepts in time function¬ 
ing situations. Listen closely to players like Steve Smith, Vinnie 
Colaiuta, Steve Gadd, Omar Hakim, Jeff Porcaro, and others, to 
clearly hear this exciting approach in action. 


m 


30 


MODERN DRUMMER 


















































































































































































































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by Roy Bums 


Trusting Your Own Ideas 


One of my students recently attended a 
clinic/concert by one of the best young 
professional drummers playing today. The 
student, who is only 16, said, "After hear¬ 
ing the clinic/concert, I became depressed." 
"Why is that?" I asked. "Nothing I play 
sounds good to me," he replied. "I don't 
like my ideas." I responded, "Don't you 
think you're being a little hard on your¬ 
self?" He said, "Well, maybe, but every¬ 
thing he played sounded so good that I 
don't sound good to myself anymore." 
"Give yourself a little time, " I suggested. 
"You're only 16. Allow time for you and 
your ideas to develop. Everyone needs time 
and experience in order to grow musically." 

One of the reasons for my student's re¬ 
sponse is that when you are young and 
hear someone who is great, it's a powerful 
experience that makes a deep and lasting 
impression. For example, when I was 16, I 
heard Louie Bellson and Buddy Rich for 
the first time. I was completely blown away. 
These guys were so good that I felt like 
giving up. However, after 24 hours, I 


couldn't wait to get to the drums and try to 
do some of the things that I had seen and 
heard. Depression had turned into inspira¬ 
tion. That concert, in my memory, inspires 
me to this day. 

One of the reasons that other players 
sound so good to us is not just that they are 
more accomplished. It's because you don't 
know what to expect. You don't know what 
the drummer in question is going to play 
next. You're on the edge of your seat, an¬ 
ticipating, enjoying, and being totally 
caught up in the music. Everything is a 
surprise—especially when you are just 16. 

The other impressive factor for my stu¬ 
dent was the group that accompanied the 
drummer in question. They were top-notch 
players with a lot of performing experi¬ 
ence. They added even more power to the 
impression being generated by the drum¬ 
mer. The whole musical effect was power¬ 
ful, and situations like this make for an 
intense and lasting impression. 

Most of us have to practice and perfect 
our ideas until we develop enough control 


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to play them naturally and with feeling. 
After doing this for years, you can use your 
ideas spontaneously to create new ones. 
This takes time and experience. You need 
to learn what is appropriate for a particular 
fill or song and what to leave out. When 
you play just what is needed, your playing 
will demonstrate maturity and feeling. 

Early in my career, I learned some great 
lessons while recording. Ideas that I thought 
would sound great on tape really did not 
sound good at all. Other ideas that I had 
sort of taken for granted sounded much, 
much better than I thought they would. 
From these experiences, I learned that while 
you are playing, it is difficult to be objec¬ 
tive about how you really sound. This is 
why recording can be such hard work. You 
have to concentrate and listen. That's why 
you often hear the comment in the studio, 
"Can we hear that back?" After listening to 
the track, you very often will want to make 
adjustments in your playing. 

This is one reason that I recommend tap¬ 
ing practice sessions, rehearsals, club gigs, 
and concerts. Listening objectively to what 
you (and the other members of the group) 
have played is a great way to learn. You 
can hear it as someone else would hear it. 
This, as you can imagine, is almost impos¬ 
sible to do while you are performing. Learn¬ 
ing to listen to yourself objectively is a key 
to improving. 

When you are young and want to do 
well, you have high hopes. As you im¬ 
prove, you begin to think, "I am pretty 
good." Your view of yourself and your play¬ 
ing may not be quite accurate. Conse¬ 
quently, when you encounter a great, ex¬ 
perienced drummer, it does deflate your 
ego a little. However, this can also be posi¬ 
tive, because it helps to give you the per¬ 
spective to determine where you really 
stand. All—or at least most—of us need an 
attitude adjustment every now and then to 
help keep our perspective of ourselves 
realistic. 



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Odd Rhythms And Meters In 
TV And Film Cues 


Movie and TV film cues never follow a rhythmic pattern. This is 
because the composer is concerned with catching the action on 
the screen, or at least scoring for the mood of the film, and cannot 
always conform to even amounts of bars. In some cases, the 
composer may choose to use odd time signatures, or if in 4/4 time, 
the measures don't always come out in groups of two, four, six, 
eight, etc. 

Look at cue M14 of the television show Beauty And The Beast. 
Note that bars 7 through 16 and 33 through 44 are in 4/4, but bars 
17 through 28 are in 12/8. It seems a bit confusing when sight 
reading, and it takes extra caution when playing to see where the 
time changes. Don Davis was the composer on this cue, and Frank 
Capp, one of L.A.'s great drummers, was the contractor. Being a 
contractor is a full-time job, but Frank always asks me if I need any 
help in the percussion section. Well, I waited until after the one 
(and only) run-through, and as the red light went on to record, I 
called Frank to come and play the snare drum part. He did, and 
"ate it up," as we say! Try sight reading this cue at 120 on a 
metronome (which is a twelve-frame click in terms of film meter) 
and see if you can "eat it up" as well! 

Note that in bar 63 it says to scrape the tarn tarn with a coin; we 
used a triangle beater instead. I am submitting cue #1 from Beauty 
And The Beast, also written by Don Davis, to show you an inter¬ 


esting mallet part. Notice the four x's in bar 27: These are four free 
clicks at the new tempo leading into bar 28. 

The next three cues are movie cues from the film Inner Space, 
and were written by Jerry Goldsmith. Needless to say, Jerry is one 
of the greatest writers for percussionists, and he also has made 
odd-time meters one of his trademarks for movie writing. 

In cue R4 P4, the time signatures switch from 4/4 to 3/4 to 3/8 to 
3/16 etc. When using a click track in a case like this, the click 
should be set to the lowest common denominator of the different 
time signatures, which in this case is the 16th note. This means 
that there would be four clicks to every quarter note in 4/4 meter, 
two clicks to every 8th note in 3/8 meter, and one click to every 
16th in 3/16 meter. However, on Inner Space, Jerry conducted this 
with no clicks at all. It behooves all percussionists to get as much 
experience as possible in following a conductor, especially in odd 
meters, since this does come up often in movie and TV cues. 

In cue 8/6—9/1, we used an 8th-note click as the basis for the 
basic pulse. In cue R7 PS, there is a nice xylo passage in 5/4 time. 

I hope these cues can give you some idea of what parts are like 
for the percussion section in film writing. I only wish you could 
hear it all with the full orchestra. It's great to hear, and better yet to 
play! 




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by Peter Erskine 

"Erskoman" 


MUSIC KEY 


My recent columns have dealt with improvisa¬ 
tion and ethnic beat variations. I would like to 
devote this month's article to a particular ex¬ 
pansion and merging of those two themes, draw¬ 
ing from my latest recording, Motion Poet 
(Denon compact disk). The first tune on the 
album is entitled "Erskoman" (composed by 
me, and arranged by Vince Mendoza). It starts 
with a calypso-like bass line, played by Will Lee. The bass and 
drum parts look like this: 



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tive. They form the body of the groove. The syncopated hi-hat 
creates an interesting counter-rhythm, and makes an otherwise 
solid and simple beat dance along. As the melody, which is itself 
syncopated (and quirky), enters and develops, the hi-hat part be¬ 
comes more "regular" 


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The arrangement produces more and more horn and guitar 
counter-lines, so by necessitythe drum part stays simple and solid. 
A groove is great fun to play, and I think that we can agree that— 
by "jazz fusion" standards, keeping my byline in mind—the above 
groove is about as basic as one can get. This groove has a chance 
to fly a little more when I go from the hi-hat to the ride cymbal. 
The hi-hat now plays in a double-time manner, thus giving the 
music another subtle dimension (i.e., another level of time). 


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One advantage of the drummer being the composer of a tune is 
that the composer doesn't need to instruct the drummer as to how 
the drum part should go! Also, the drum ego is sublimated, in part, 
by the composition's unfolding and development. However, I do 
get to have some real drum fun for eight bars—a solo! Motivically, 
I draw from the spirit and the ensemble figures of the tune. 

It is a drum solo, but you'll notice that there isn't a lot of ink 
being used in the transcription. As I improvised, I was just trying to 
compose some more of the tune, then and there. I didn't want to 
just play some flashy licks (I don't know too many, anyway) or 
play something else that my hands just "knew." The solo is, I hope, 
unique, musical, and complementary to the rest of the music. 


46 


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I hope that you enjoy "Erskoman" and the rest of the music on Motion Poet. In my next article, I'll share some more rhythms and 
interpretations from the album and from my current musical lexicon. 


MOQFRN DRUMMFR 


47 






























































































































































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intonations, and having that all over the 
drumset. It's like thinking of things as a 
voice instead of just keeping the bass drum 
on four beats, or every time you hit a cym¬ 
bal, having to hit a bass drum with it. I'll 
do things like hit a cymbal by itself and let 
the tone of the cymbal ring out where it's 
more obvious. If you hit a cymbal by itself, 
it's isolated, and nothing is covered up by 
any other instrument. If it's a large crash 
cymbal, you can do that, or if you have a 
small splash cymbal or quick-sounding 
cymbals, you can play rhythms on them. If 
you play those kinds of rhythms on a large 
cymbal that is very sustaining, it'll just wash 
out. I like things to speak out individually. 
It's kind of like a lot of people talking at 
once, and you can think of people shout¬ 
ing at each other or whispering. I do that a 
lot when I'm soloing. I try to start with 
some sort of theme and try to make it a bit 
more musical, because I hate most drum 
solos. I think most drum solos are hard to 
listen to. Though Peter Erskine plays amaz¬ 
ingly beautiful solos that are melodic. Max 
Roach also does that, and there are other 
drummers as well. But most drum solos 
sound like a circus act to me. 

RF: Do you think your background on vio¬ 
lin and viola had any kind of melodic ef¬ 
fect on you? 

CW: [laughs] I don't know; it may have. 
RF: You laughed when I brought it up. Why? 
CW: Because I put that away after high 
school. But yes, it probably did, and I think 
it made my reading a bit more musical, 
too. I think the other thing it did for me was 
that it made me realize what other instru¬ 
mentalists have to go through. A lot of drum¬ 
mers just get so wrapped up in drums— 
especially younger drummers. Younger 
drummers are learning and trying to get a 
big vocabulary together to have something 
to say, and often they don't think rhythm 
section-wise to begin with, let alone what 
other people have to go through—like a 
sax player having to wet a reed and stick it 
on his instrument and blow through this 
plumbing to try to get notes out. Playing 


violin kind of showed me what violinists 
have to go through, and that, yes, they 
have reason to get upset if they can't hear 
themselves. Drums are a very powerful, 
loud instrument, so I think I can under¬ 
stand things a little more from a string 
player's point of view. 

RF: What about that concept of rhythm 
section playing as opposed to solo play¬ 
ing? When you were learning how to play, 
you were in your room alone transcribing 
and becoming an instrumentalist, as op¬ 
posed to an ensemble player. 

CW: As I was transcribing, I couldn't write 
down what the other instruments were 
doing, but I was checking it out, and I 
could hear it—how the bass drum was 
working against the bass, or noticing, "Hey, 
those guitar beats are also being played by 
the snare drum," and these things set up 
different types of grooves. 

RF: Some drummers only listen to the drum 
part, and that limits the concept of playing 
with others. 

CW: The drum part alone doesn't mean 
much. 

RF: So you always knew to listen to the 
whole? 

CW: Pretty much. Not patting myself on 
the back at all, but I think that's usually 
how you can tell when someone has played 
for a while; he or she usually plays to help 
the song and the music, rather than, "This 
is what I've practiced in my room." That 
doesn't mean a thing. 

RF: You must have known that pretty early, 
because you were playing professionally at 
a very young age. 

CW: I was with Frank when I was 21, but I 
was 19 when I started professionally and 
went on the road with Leslie Uggams. She 
is very good, and the band she had was 
great. In fact, the keyboard player was Jim 
Cox, who got me on the Barbra Streisand 
gig and also on The Late Show. 

RF: It was Jim Cox who hooked you up 
with Albert Lee, too. I was thinking what a 
strange pairing that is. Was that odd to do? 
CW: It was great to do. It was a blast, and I 


loved it. I don't play country music very 
often, and he wanted that album [Speech¬ 
less] to be a bit weird anyway. 

RF: There were some jazz inflections in 
there. 

CW: We did a Duane Eddy tune, and we 
took it completely left. The bass player was 
a very country bass player, and I think he 
thought we were absolutely mad, because 
on the solo section, Jim started taking it 
out, and Albert was saying, "Yeah, yeah, 
that's what I want." 

RF: So in a situation like that you get to 
infuse some of yourself in there. 

CW: Yes, although on other tunes we kept 
it very, very safe and straight and more 
appropriate. 

RF: There is one that is a train feel, and I 
wondered how you even knew how to play 
country music. 

CW: I had played country music gigs be¬ 
fore—not a lot, but I've played a few clubs. 
I've played the Palomino a few times. I 
think it was someone Jim Cox was working 
with again. 

RF: And you didn't have an attitude about 
it? 

CW: No, we had a great time. Jim is amaz¬ 
ing at it, a real specialist. He gets an unbe¬ 
lievable steel guitar sound just on a Prophet. 

I've played all sorts of gigs. Before I 
played with Frank, I played with Leslie 
Uggams, which is a Vegas-type show with 
strings and that kind of thing. 

RF: And you didn't get crazy? 

CW: No, we had a good time, and at the 
same time, the rhythm section had a fusion 
band going, and that same rhythm section 
became Bill Watrous's rhythm section. Af¬ 
ter a while, people were just hiring us as a 
rhythm section because we could play jazz 
and rock and most styles. 

RF: Has there ever been a situation where 
you felt creatively stifled? 

CW: When you start playing a style you're 
not used to, you feel a little bit strange. 
When I first played with Bill Watrous, he 
would count off tempos that were so fast, I 
don't know if they're even on a metro¬ 
nome. And he's so amazing that he can 
solo for 15 minutes, cycle breath, and go 
on and on and on. That took a while to get 
used to. 

RF: How did you work with that? 

CW: I had to practice just a basic swing 
beat—ding dinga ding, dinga ding—for a 
long time at home, and make sure I could 
do it. If you ever tense up, you're not going 
to last. You're going to hurt yourself and 
have to stop playing, especially in that situ¬ 
ation where you have to play fast for a long 
period of time. So I started analyzing what 
my hand was doing, making sure it wasn't 
working more than it had to, using all the 
energy, making as much out of it as I could 
without playing too hard. I'd try to play 
lighter and make sure I wasn't using a big¬ 
ger stroke than I had to, which would take 
up more time or energy. 

RF: Take each situation you've been in for 
a length of time and tell me what kind of 
playing was required of you and how you 


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attempted to fit the bill and approach the 
music. 

CW: In Frank's situation, a lot of it is dic¬ 
tated to you, so you often have the role of 
basically doing what you're paid to be 
doing. A lot of that is taking music home 
and practicing it—multiple percussion parts 
that are like classical parts. That, for me, is 
probably the hardest side of that gig—just 
memorizing all those notes and all the dif¬ 
ferent figures. 

Allan's band is just the opposite of that. 
You're more of a composer as far as the 
drum part goes; that's what you're hired 
for. There may be only a few people he 
likes, but he is not going to tell them what 
to do; he wants them to play the way he 
likes to hear it. It's a real problem to find 
somebody, and just until recently, there 
hasn't been any music written for Allan's 
stuff because Allan doesn't write it down. 
Jimmy Johnson, the bass player, finally 
wrote some of the drum parts out because 
there have been a couple of times when 
Gary Husband or I couldn't do the gig. 
Gary and I have been juggling it around for 
quite some time. Allan has had a few really 
amazing drummers play, but it may not be 
just quite the way he wants to hear it. But 
he's still not going to tell them how he 
wants to hear it. You don't get any direc¬ 
tion; it's a lot of luck, I guess. And if you're 
going to have a situation that's that open, 
when somebody steps in, it's going to make 
it completely different. The way Gary Hus¬ 
band plays and the way I play are com¬ 
pletely different. He's probably even wilder 
than I am. He's really, really amazing, and 
we approach the music differently too, so 
that gig is a strange one, because it's so 
open. Every other gig I've done, somebody 
has said, "Now, put the backbeat here," or, 
"we're going to half time." None of it is 
ever talked about with Allan, whereas with 
Frank, a lot of it is talked about. 

RF: Does it still feel creative? 

CW: It still does, because once Frank puts 
on the guitar, it's an open section. So in 
parts of it you're more like a classical per¬ 
cussionist, playing the notes. It's like some¬ 
body playing Mozart and being asked, "Are 
you being creative?" It's not really your job 
at that point to be creative. You're not in a 
composer's role; you're in a musician's role 
or a sideman's role. But for solos and im¬ 
provisation sections, it's now your job to 
be creative. That's how I look at it. 

RF: Is there anyone else that you might 
have worked with that required something 
completely different? 

CW: Those are the extremes. Everything 
else kind of falls between them. I worked 
with Men At Work for four months, and 
that was all grooves, which was completely 
different. 

RF: Who were your influences in that re¬ 
spect? 

CW: One who really impressed me and 
who can do that type of thing really well is 
Jeff Porcaro. Another drummer named Bob 
Wilson, who played with a group called 
Seawind, was a great groove drummer. He 


52 


MODERN drummer 












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didn't play anything that was terribly tech¬ 
nical, but just the way he laid it down was 
amazing. I would go out and see that band 
a lot, and whenever Jeff Porcaro was play¬ 
ing, I'd see him. Also, when I was a bit 
younger, I listened to John Guerin. I'm sure 
those drummers can do a lot of things, but 
when I heard them, they were playing a lot 
of groove stuff. I always practiced grooves. 
RF: How did you practice that? 

CW: Different ways. Often I'd get a bass 
player friend to come over and just play all 
day—just grooves and feels. Or, if I was 
alone, I'd set a metronome and try to play 
different feels, or try to get it exactly locked, 
or try to play with an edge a tiny bit, push¬ 
ing or laid back. I was pretty aware of 
those type of things. 

RF: What was it like going from a Zappa 
mindset to something like Men At Work? 
CW: I was playing grooves much more 
before I played with Frank, because I was 
doing demos and recording a little bit. I 
wasn't really playing a lot of fusion stuff. I 
was playing some jazz, and any session I 
did was pretty much a pop tune or a rock 
'n' roll groove—which did help with Frank, 
too, because a lot of times you have to play 
patterns. They can be simple patterns, 
which you probably don't notice as much 
as the musical Olympics. So it was just 
getting back into that mode. 

When I'm on tour with somebody, I like 
to listen to the opposite music of whatever 
music I'm playing on the tour. It's a good 
change. Often with Allan Holdsworth, we'd 
listen to pop music, Top-40 radio. I worked 
at Disneyland with Jim Cox in a Top-40 
band when I was younger. I was very fortu¬ 
nate. I went to Long Beach State University 
when John Ferraro and Gordon Peak were 
there, and I learned a lot from them. We all 
kind of gave each other gigs, and Jim Cox 
was the keyboard player at school at the 
time. John Ferraro had the gig at 
Disneyland, and when he got called to play 
with Larry Carlton, he called me to take 
over his gig at Disneyland. That's where I 
got pretty tight with Jim Cox, which led to 
Leslie Uggams and a lot of other things. So 
I've been playing grooves for a long time. 
RF: What would you say is your forte? You 
play all this music and you don't seem to 


have an attitude about any of it. So what 
do you think are your strengths, if you 
would pat yourself on the back for a min¬ 
ute? 

CW: I really don't have any kind of prob¬ 
lem with reading, and once again, by play¬ 
ing Frank's gig, that's brought that to an¬ 
other level, even though I might not read 
for six months. I do like playing pop music. 
It's really fun to just sit back and play a real 
strong groove, and try to play very simple 
fills that can lift a tune before a chorus, and 
do it in a way that is pedestrian enough, 
but not so much so that it could be any¬ 
body. I love working with Allan. It's so free, 
and I just love the way he writes. I feel I 
can do that pretty well. I think I can play in 
Frank's situation pretty well, too. Odd times 
aren't really a problem. I've done it so 
much. I think a lot of people get tense 
about doing that, because they don't get to 
practice it very much. I'm not the world's 
greatest brush player. I haven't done that 
for a long time, not since Bill Watrous or 
Leslie Uggams or any jazz albums I've done. 
That's something I could work on. 

RF: How would you do that? 

CW: That's something I've been thinking 
about lately, actually. I'd like to take a few 
lessons from a few players. I haven't taken 
any lessons in about ten years, so I'd like to 
take some from somebody who plays com¬ 
pletely different than I do. Peter could show 
me some brush things, actually, and Jake 
Hanna. Jake's amazing. He plays beautiful 
brushes. I haven't done it, but I've been 
thinking about calling up Alex Acuna, be¬ 
cause I haven't played a lot of Latin things. 

I feel that my Latin playing is too jazz- 
influenced. The way I play a samba is a 
jazz samba; it's not a true Brazilian samba, 
because I've played with some bass play¬ 
ers who have played true Brazilian samba, 
and it's not the same as a jazz samba. They 
leave half of the notes out, and I'm not sure 
if the samba I would play against that would 
be completely traditional. I like to know 
what the formula is to make up different 
styles of music. 

At this point, I feel pretty confident, es¬ 
pecially coming off of a tour. Your chops 
are really up when you get off the road, 
and in Frank's situation, I do get to play a 



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54 


lot of different styles. I usually don't get 
nervous in the studio. At first I did because 
I was worried about how my drums were 
really going to sound, getting along with 
the engineer, what he was going to do to 
the sound, and things like that. 

RF: That was something else you mentioned 
in your last article that I wanted to get 
more into. You said drums should sound 
different with every different thing you do. 
CW: It's like a synthesizer player. He can 
be more elaborate than you can be with 
drums, but you have to know the right kind 
of sounds to put out for the music. If James 
Taylor calls, you're not going to walk in 
with a Stewart Copeland-sounding snare 
drum. You have to be aware of that. It's 
going to be a bit lower pitched, unless he 
wants to change. But he's pretty much es¬ 
tablished a type of sound that fits his mu¬ 
sic, and I imagine he likes to hear that. And 
the same thing if, say, Ziggy Marley would 
need a drummer. You wouldn't walk in 
with a Russ Kunkel or Carlos Vega snare. 
You have to be aware of these things—the 
different tunes. For reggae you can tune it 
very, very tight, make it very timbale-ish 
sounding, maybe use a sizzle cymbal, 
something Bob Marley used in his band. 
RF: What do you do with Frank? 

CW: We have to shift gears all the time, so 
it's a pretty general-sounding kit. It's a rock¬ 
sounding bass drum with a blanket in it; it's 
not a jazz bass drum. The toms are 10", 
12", 14", 16", and 18", and they have white 
heads on top and clear on the bottom. 
They're all completely open, so with that 
sound you can pretty much do anything. 
The snare drum is fairly tight; we don't do 
any James Taylor-ish songs. 

RF: What about with Holdsworth? 

CW: I use pretty much the same thing with 
him. I often use more cymbals, though. It's 
very spacious music, and I want to use 
more bells and more variances in sounds. 
RF: You changed drum companies from 
Slingerland to DW since your last article. 
CW: I ended up buying a kit of DW's since 
I liked them so much, and then I thought, 
"This isn't right. I don't want to be endors¬ 
ing something I wouldn't want to use in the 
studio," so at that point I changed. It was 
hard to do, because Slingerland took me 
on when I was very young, and they were 
terrific—really, really great people. But the 
DW stuff is amazing, and it's all hand¬ 
made. They take a lot of pride in it, and a 
big reason I like them is that their bearing 
edges are really true, so there's a wide range 
for every drum. I can tune them way down 
and way up, and they won't sound choked 
when they're too high or too papery when 
they're too low. I can go for the Megadeth 
sound or a jazz sound. 

RF: What about getting a drum sound in 
the studio as opposed to live? 

CW: My drum sound is very similar in both 
situations. The room is always different in 
the studio, and live you have to deal with a 
PA, which can be a real problem if you 
don't have enough EQ on the mixing con¬ 
sole like you would in the studio. Some- 


MODERN DRUMMER 











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times you're working in a club and you 
can only do so much, but I always try to 
get really tight with the engineer and try to 
work with him to get the best sound pos¬ 
sible. 

RF: What about tuning? 

CW: I'm really careful about tuning. On 
my kit, I have all even sizes. I purposely 
avoid 13" and 15" toms—not because I 
actually go for pitched notes, but I try to go 
for a wide enough interval between each 
drum so you can actually hear the tone of 
the drum. With a 10", 12", 13", and 14" 
setup, I find I can't get a big enough space. 
I like to hear each drum individually. I can 
really hear when I'm on the 10" tom as 
opposed to the 12". There's a fairly big gap, 
pitch-wise. Each tom is very independent¬ 
sounding, so on solos, I try to be more 
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tones than as tom-toms, and I think that my 
setup helps me do it. I also do that with 
cymbals. I don't get too many cymbals that 
have the same frequency range, which is a 
big reason I like my Paistes. I have a 14", a 
16", and an 18", and each one isn't com¬ 
pletely covering up the other's frequency 
range. You can hear a bit of a tone to each 
one and you can hear more of the note. 
And I have mic's in all of my drums. Really 
good mic's make such a difference going 
out over the PA. In the studio, I tune for the 
song. If I'm in the studio with Barbra Strei¬ 
sand, I'm not going to go for as high a pitch 
snare sound as I normally do with Frank 
and Allan. As far as snare drums go, I'll 
either use Drum Workshop brass drums or 
I'll use Noble & Cooley wood drums. 

RF: Do you take the same equipment into 
the studio? 

CW: Yes I do. I basically have three 
drumsets that are very similar. I have two 
with the setup I just mentioned. The set I 
use with Frank has an 18" floor tom as 
well, because he wanted a really huge floor 
tom. 

RF: What do you want to do at this point 
with your music? 

CW: I'm trying to write music. 

RF: What kind of music do you write? 

CW: Kind of a bit of everything, like what I 
play. I've got a couple of tunes that are 
finished; one is a light reggae tune with 
vocals on it, and the other is more of an 
R&B funk tune. Allan has helped me out 
with these and played on them, and my 
brother played bass. 

RF : What do you compose on? 

CW: Either keyboards or a Chapman Stick. 

I got the Stick a few months ago and took it 
on the road. I think it's a great writing tool. 
And I have a Macintosh. I would eventu- 


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ally like to be a composer. I would like to 
be a solo artist and put out an album. These 
tunes don't sound like a drummer wrote 
them. But I have other things that don't fit 
that mold either and are a bit wilder. 

RF: What about the recording work you do 
in town? 

CW: I do a lot of jingles. I work for John 
Trivers and Liz Myers a lot. They're the 
greatest people, and it's usually me and Jim 
Cox or Alan Pasqua. The first one I did was 
a Nike ad, which involved basketball play¬ 
ers playing, so it was all drums. They 
wanted kind of a Police feel—really wild— 
and it was basically a drum solo that they 
put some sound effects to later. You never 
know what they're going to be. The client 
might say, "We just want piano," or "It's 
got to be Van Halen," or "Did I say Van 
Halen? No, I meant a polka." Those things 
are often like Frank's gig; they change all 
the time. They really write great music and 
still keep the ad people very happy. It's not 
the normal way of doing jingles. From what 
I understand, that's usually guys in and out 
of the studio in an hour. We spend a good 
hour or two just getting a drum sound. 
They do it at Village—studio A or studio 
D—at Capitol B, or at Studio Ultima, and 
they spend time with the sounds and hire 
great people. 

RF: What would you bring to that gig? 

CW: My usual set plus my electronics. 

RF: Do you use electronics with Zappa? 
CW:Yesldo. 

RF: Can you give me an idea of what you 
use? 

CW: I use the Dynacord ADD-one and an 
Akai S-900 sampler—basically the two 
brains—and it's all wired into a Switchcraft 
patch bay. I had it done properly, so that 
there are no hums and no buzzes. We did 
85 gigs with Frank, and it hummed one 
day, which is unbelievable. Ron Aston put 
it together for me. Every sound comes up at 
the patch bay and the mixer. I have out¬ 
board gear, a couple of Roland delays—an 
SPX-90 and an SRV-2000— and I trigger off 
the drums. I have Octapads and Dan Dauz 
pads, which are little electronic pads that 
you can put all over the kit. I'm into elec¬ 
tronics in a big way. On the '84 tour with 
Frank I used a real bass drum, snare drum, 
cymbals, and ten pads. 

|RF: Why do electronics interest you? 

CW: Engineering interests me a lot. On 
tour, I'm usually hanging out with the sound 
engineer. Allan is an engineer as well, so 
I've learned a lot from him. I'm always 
picking his brain. Before the '84 tour, I was 
using the Simmons SDS-7 and had 16 dif¬ 
ferent patches that I could use. I use a lot of 
different sounds. For Colin Hay's record, a 
lot of those rhythm parts were being played 
from an Octapad, not keyboards. Some¬ 
times for a really ridiculously huge snare 
drum, I'll use white noise on a Prophet and 
some other sound on a DX, plus the other 
samplers. On the jingles I use different 
sounds all the time. It's great, because you 
can get an instantly huge sound by having 
multiple units being played together. 


56 


MODERN DRUMMER 




















RF: How electronic do you sound? 

CW: I didn't start triggering until this tour. I 
always pretty much kept them separate and 
used them as effects or for solos—and not 
only drum sounds either; sometimes I'd use 
marimba sounds, so I could play melodies 
and chords. But I wanted more sound pos¬ 
sibilities. 

RF: Is Frank into this? 

CW: Oh, yes. For the '84 tour he wanted 
everything electronic, but we decided to 
keep the kick and the snare drum acoustic. 
RF: How did you feel about playing pads? 
CW: It was pretty strange at first, because 
at that time it was theSDS-V, which had 
the very hard pads. I couldn't imagine play¬ 
ing those for a whole tour. Some of Frank's 
roadies were working with Missing Per¬ 
sons, so I went over to Terry's [Bozzio] 
warehouse where he had his electronics 
setup. They tapped on it for me and it 
sounded so amazing, really hi-fi, and I 
thought, "That would be really amazing if 
you could actually get a great sound wher¬ 
ever you are." So I thought, "That's another 
completely different way to think." It would 
be great to have everything sound really 
expensive on stage, coming out in stereo 
with the correct reverbs and correct delay 
times. I used the electronics with Men At 
Work, too. 

RF: With Men At Work, was it weird com¬ 
ing into a situation where there had been 
another drummer? 


CW: There had been another band. Colin 
[Hay] and Greg [Hamm] were the only 
ones left. This was kind of a version two. 
The tour was going to be amazing. They 
had booked a month in China after Wham! 
had played there. We rehearsed in Mel¬ 
bourne for a month, and the bass player, 
Jeremy Alsop, was great. It turned out we 
had all the same influences, and he was 
really into Zappa and Weather Report. But 
China got cancelled, and they panicked 
because they had us all on salary. So they 
ended up booking all of Australia, and we 
went to the outback, to Broken Hill, and 
these mining towns. It was a wild experi¬ 
ence. But I met my wife on that tour, who 
was singing with the opening band, so I'm 
glad I did it. 

RF: So what's your focus? 

CW: Can't you tell I'm not focused at all? 
[laughs] 

RF: What about burning desires? 

CW: I have a burning desire to do this solo 
thing. That's a huge goal. That's not much 
to do with drumming at all, but it just seems 
like the right step to take at this point. 
Sometimes you can get tired of being a 
sideman. You finally get to the point where 
you think, "I should be doing something 
on my own as well." Not that I would do 
that 100% of the time, but I have a lot of 
ambition to do something more. 

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MODERN DRUMMER 


57 




























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a maze of tiny recording rooms, complete 
with the latest recording equipment. 

Schwartzberg sits down with his Linn 
9000. It's a tight fit. He remarks that such 
facilities are the wave of the recording fu¬ 
ture. "You don't need to go into a tradi¬ 
tional studio anymore to cut a jingle," he 
says. "What I have to do for the next hour 
or so can be done in this little bit of a 
room. The accent is on cost efficiency." 

Schwartzberg works through the music. 
It's not the most challenging work; in fact, 
Schwartzberg fights off boredom as he adds 
electronic drums to what is a pretty catchy 
melody. 

RS: You're not the world's biggest fan of 


58 


drum machines, are you? 

AS: Yes and no. The electronics thing that's 
been occurring in music was difficult for 
me to accept at first. It's only been in the 
past four years that I really got into modern 
drum technology. I love the sonics of the 
electronic drum technology, and certain 
things are almost impossible to play any 
other way, but there are uncomfortable 
areas for me. 

RS: Why is that? 

AS: Because there are hidden factors. Things 
go wrong, and I don't know why. That 
really bothers me. When I use a drum ma¬ 
chine, I'm speaking through an instrument 
that's cold and sometimes insensitive. It's 
not a direct means of musical communica¬ 


tion as far as I'm concerned. I do feel I can 
program anything that I can play, yet there 
are things that make me uneasy. Take, for 
instance, this piece that I'm working on. 
Something could happen three quarters of 
the way through the session. The Linn could 
go down. It could simply crash. Then I'd 
have to start all over again. It's nerve-rack¬ 
ing more than anything else, I guess. That's 
especially true when I'm dealing with the 
9000. It's the best-feeling drum machine 
on the market, but it can give you a heart 
condition. 

RS: Did you get into drum programming 
out of necessity? 

AS: Yes. A good friend of mine, Steve Shaef- 
fer, who does the first-call film work in 
California, just about threatened my life if I 
didn't learn how to program. He said to 
me, "Allan, you're not going to make a liv¬ 
ing if you don't. You're going to be an old 
guy like those die-hard beboppers." He saw 
the handwriting on the wall. He was defi¬ 
nitely right. Not only do people really want 
you to use a drum machine in the studio, 
but having a machine like the Linn and 
knowing how to program is a definite indi¬ 
cation of whether or not you're really "here" 
in the present. If you're not dealing with 
electronics, you're not happening in the 
session world. A session player like me has 
to keep up with technology. It's that simple. 
RS: What kinds of electronic equipment do 
you find yourself using most in the studio? 
AS: I use the Linn 9000, Octapads, and 
tons of samples that I've made and traded 
with Sammy Merindino, who is, without a 
doubt, the absolute champ at this stuff. My 
equipment is the kind that I can break down, 
pack up, put under my arm, and take to the 
studio. Any other equipment I'll get from 
the studio itself. Most of the studios I work 
at have great outboard equipment and great 
engineers. Why not take advantage of that? 

I set up Yamaha MIDI pads for the toms 
and mount Octapads on the hi-hat stand to 
play live percussion and sound effects, like 
cymbal swells, backward sounds, etc. 

RS: What are your feelings about the rela¬ 
tionship between percussion and drums? 
AS: Percussion is great fun to play. It's the 
icing on the cake, or it can be the whole 
feel itself. Percussion and drums together 
make the rhythmic fabric. Try to imagine 
the Miami Sound Machine without percus¬ 
sion. 

The late Jimmy Maelen was the best there 
ever was at doing that stuff. He had an 
overview that very few possess, and he 
could find slots in the music that you didn't 
know were there. We worked together 
almost every day. Playing with live percus¬ 
sion is such a treat for a drummer, espe¬ 
cially with someone like Maelen. Ask Andy 
Newmark about that. Jimmy was a rock. 
He was my dearest friend. 

RS: Is there a difference in the level of 
satisfaction you experience when you 
complete a drum programming session as 
opposed to a session where you used acous¬ 
tic drums? 

AS: Oh, yeah. When I finish programming 

MODERN DRUMMER 


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a drum part, it's like a wet dream. 

I did everything in the dream 
that I would do when I'm awake, 
but I didn't really do anything. 

It's an artificial sense of satisfac¬ 
tion. That's a weird analogy, but 
it's true. 

RS: These days a lot of keyboard 
players are getting involved in 
drum programming. How do 
you feel about that intrusion into 
a drummer's territory? 

AS: It's scary to hear some of the 
drum parts that non-drummers 
are coming up with today. Most 
of them suck and have a stupid, 
robotic feel. I asked Steve Shaef- 
fer what he says when he hears 
a great drum program by a key¬ 
board player. You know what 
he told me? "Don't sayanything. 

Don't tell him it's good. Let's try to keep 
keyboard players at the keyboards." 

While the rest of the staff at Crushing sits 
down to a lunch of fried chicken and rice 
made by the resident cook, Schwartzberg 
and the producer of the jingle go over pro¬ 
gramming details. Schwartzberg has time 
for a couple of bites of an apple and a swig 
of beer, but no lunch. 

Next up is overdubbing. To watch Allan 
work is to witness an exercise in concen¬ 
tration. He immerses himself in the music 
and doesn't come up for air. He checks 
and rechecks his work, and he continu¬ 
ously tries to improve upon it until he's 
exhausted every possible idea in his head. 
For someone who says he's not completely 
comfortable with electronics, Schwartzberg 
is indeed in command of the instrument. 
It's no wonder nearly a third of the studio 
work he does involves his drum machine. 

RS: How and why did you become a drum¬ 
mer? 

AS: This is strange, but honest, it's abso¬ 
lutely true. I've told this story before. I don't 
know how many people believe it, though. 
There was a magical moment in my life 
when I was about eight years old. I was on 
my way to school one day when I heard a 
Gene Krupa record. Somebody was play¬ 
ing it in an apartment, and the music was 
escaping through an open window. It was 
incredible. I froze in my tracks. I mean, it 
was like a mystical experience or some¬ 
thing. I went into a trance. It was as if 
somebody reached into my body and turned 
on a switch. When I went home later that 
day, I immediately began banging on the 
table and the side of the washing machine. 
You have to understand that there are no 
musicians in my family. Everyone is either 
a doctor or a lawyer or a jeweler. But I 
pleaded with my parents to buy me a set of 
drums, which, fortunately for me, they did. 
RS: You don't get to hear stories about 
musicians who experienced such single, 
profound awakenings as you did, at least 
not that often. 

AS: It was really crazy. I mean, who knows 


where this fascination with drums came 
from? I never even heard anyone play drums 
before that day. I'll never forget it as long 
as I live. The only other mystical experi¬ 
ence I've ever had was when I made eye 
contact with my wife, Susan, for the first 
time. 

RS: Did your parents support you in your 
early musical endeavors? 

AS: They bought me a set of drums. But, 
generally, they tried to discourage me from 
pursuing music as a career. They knew the 
music business was a shaky business. They 
wanted me to become a doctor or a law¬ 
yer. 

RS: But you persisted and stuck with the 
drums. 

AS: That's right. I was very much into sports 
as a kid. But when I discovered the drums, 

I gave up sports. I just gave them up. One 
day I was playing baseball. I was standing 
there in the outfield, and I suddenly said, 
"Screw this!" Something clicked in my brain 
that forced me to walk off the field in the 
middle of the game. That was it. I went 
home to practice the drums. I practiced 
eight hours a day. I'd go into a trance while 
I was practicing. I'd memorize Max Roach 
solos and just imitate drummers. 

RS: Your musical focus was primarily jazz? 
AS: I didn't notice any other music. 

RS: But, growing up in the '50s, weren't 
you affected by Elvis Presley and the birth 
of rock 'n' roll? 

AS: No. Ironically, I love that stuff now, but 
at the time, I didn't notice a thing. When I 
got past the Gene Krupa fascination, I turned 
my attention to black jazz drummers. I 
loved Philly Joe Jones and Pete LaRoca and 
Max Roach. I bought everything that Elvin 
Jones ever played on. I loved Tony 
Williams's drum style. I still do. Later on, I 
worked across the street from where Elvin 
Jones was playing, and I got to know him. 
Philly Joe Jones, though, was so great, I 
couldn't even begin to emulate his style'of 
playing. Elvin Jones seemed easier for me 
to imitate. 

RS: Do you remember your first set of 
drums? 

AS: Oh, yeah. It was a Gretsch set. I've 



MODERN DRUMMER 


59 











Our destination is Automated Studios on 
43rd and Broadway. 

On the way, Schwartzberg talks about 
the session he just completed. "It's a funny 
thing," he says. "I've been doing this ses¬ 
sion thing for a long time. But every time I 
record, there's a slight fear that's left inside 
me. It comes from, I don't know, maybe an 
uncertainty about my performance. Some¬ 
thing inside me always asks, "Was that the 
best you could play?" 

We inch our way to the studio. Rush 
hour has begun. We make it to Automated 
with minutes to spare. Guitarist John Tropea, 
a close friend of Schwartzberg, greets us. 
He tells us there will be a bit of a delay. 
Allan doesn't complain. He'll get paid for a 
few minutes of relaxation. It's the first bit of 
leisure he's experienced all day. 

RS: What's the difference, if any, between 
the New York session scene and the one in 
L.A.? 

AS: Sometimes I think the L.A. scene is the 
opposite of what we have here in New 
York. Out in L.A., things seem so amaz¬ 
ingly elegant, compared to New York, 
which one might consider the slums. At 
L.A. studios there are parking spaces for 
the musicians. What a luxury. The equip¬ 
ment scene is completely different. Every¬ 
body in L.A. owns tons of stuff, and it's all 
carted to every session where it's played in 
huge rooms. Here we have mostly little 
rooms and people jumping in and out of 
cabs. In New York we take back-to-back 
sessions. Out in L.A., a session player might 
take a session from 10:00 to 1:00 and 
maybe another one from 2:00 to 5:00. They 
have to have space between sessions. Here 
in New York I can take a session from 
10:00 to 11:00, from 11:30 to 12:30, from 
1:00 to 2:00, and so on. Musicians do a lot 
of film work in L.A. In New York we do a 
lot of jingles. The film work pays a lot, I 
might add, which is good for those guys. 
They get a Motion Picture Fund check at 
the end of the year. New York session mu¬ 
sicians get residuals from the jingles they 
play on. Most of the jingles in the U.S. are 
done here in New York. I think there are 
more record dates going on in L.A., though. 
RS: Which scene do you think is more 
competitive? 

AS: Somebody in the business once said 
you can see the knife coming in New York, 
but in L.A. you don't. I've always enjoyed 
working in LA., and I've been doing some 
writing for a show out there. I've written 
some things with John [Tropea]. We wrote 
the whole music package for a TV show 
called Hour Magazine. We're going to try 
to do some more of that. 

But, to answer your question, I used to 
feel this competition thing you're referring 
to. I must admit that I always felt like a kid 
from a poor neighborhood whenever I went 
out to work in L.A. There is less of a pres¬ 
sure factor out there. If you're out of work 
in New York, you're a goner. If you're starv¬ 
ing in L.A., you can always pick an avo¬ 
cado off a tree and whip up some guaca- 


been so lucky. As a kid I lived in an apart¬ 
ment house with neighbors on all sides. I 
used to practice all day, and the neighbors 
didn't mind. I lucked out...or maybe they 
moved out. 

RS: Did you take drum lessons when you 
were a kid? 

AS: I studied drums with a guy named 
Sammy Ulano, who became an inspiration 
of sorts to me. He embarrassed me into 
practicing. He made me feel bad if I didn't 
practice. He was the only real drum teacher 
I had. He taught me how to read. I learned 
everything else from records. So, in a way, 
Tony Williams, Elvin, and Philly Joe were 
my teachers. Later on, Keltner and Roger 
Hawkins were teachers. I can say the same 


thing about Bernard Purdie, who I thought 
was absolutely great. Purdie has got to be 
given credit for inventing the "groove." 
Nobody grooves as hard as he does. He's 
the missing link between rock 'n' roll, 
rhythm & blues, and jazz. Everyone has 
stolen from him in one capacity or another. 

Schwartzberg completes the overdubs, 
packs up his Linn, and is on the move 
again. Next up: session number three—a 
simple overdub jingle session. Then there's 
number four. Schwartzberg says he's look¬ 
ing forward to this one, since he'll be cut¬ 
ting one or two rhythm tracks for an up¬ 
coming Linda Ronstadt album. We get into 
the car and again confront midtown traffic. 


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60 


MODERN DRUMMER 












mole. 

RS: Is there such a thing as a "New York" 
feel when one talks about New York ses¬ 
sion drummers? 

AS: I think there is. It's the type of thing that 
has to do with intensity. The old saying is 
that New York drummers play on top of the 
click, while L.A. drummers play behind it. 
I'm not sure that's true, but it might be. 
We're on top of the click because there's a 
crisis here—millions of people jammed into 
one town, talented, competitive, nervous, 
and freezing their asses off in the winter. 
We're a product of our environment. 

RS: You seem to read music rather well. Is 
that a basic requirement for session play¬ 
ers? 

AS: For me it is. Reading music is easy— 
same as a newspaper. There is really no 
reason why a session player can't read. But 
there are some musicians who can't read 
and still manage. The bottom line is that 
most session musicians read. 

RS: What happens to a session drummer 
who can't read when a producer hands out 
sheet music and says, "Play this"? 

AS: Well, that musician better have great 
ears. Sometimes a producerwill say, "Okay 
guys, get out your pencils and change the 
piece so that when we go back to the top 
we cut out the last three bars and make the 
fourth bar 3/4," or something to that effect. 
Now, for someone who's just learned the 
music and who can't read, well, he has to 
relearn the piece. It's going to take him at 
least two to three attempts to get it right. 
The other guys around him will play the 
piece in its revised form and probably won't 
make any mistakes. Often, they'll get an¬ 
noyed at the drummer who can't read. You 
can't really blame them. 

It's a funny thing about playing drums. 
When something is not feeling good at a 
session or in a band, all sights—as in gun 
sights—are on the drummer. You're the 
engine of the band. A drummer can't afford 
a bad day. A session drummer isn't in a 
band. But—and this is important—he's 
supposed to sound like he's in a band, and 
he's supposed to make everyone else in the 
studio sound like they're in a band, too. 

A producer hires me knowing that I'm 
going to take this music he's just handed 
me, and I'm going to interpret it and pro¬ 
duce on my instrument. That's what I really 
am—a drum producer. I produce drum 
parts. You can't play what's written in the 
music. Very few people know how to write 
for drums. Van McCoy was one of the ex¬ 
ceptions. John Tropea is an exception. 

Speaking of Tropea, he enters the room 
Allan and I have been talking in and calls 
Allan back into the studio. The equipment 
is finally set up, and he overdubs three 
drum fills in a Pizza Hut commercial. Then 
we're out of there and on our way to the 
last session at Sunset Sound. Schwartzberg 
and the others will work on one Ronstadt 
rhythm track. Despite three previous ses¬ 
sions, no lunch or supper, a number of 
mini-interviews conducted by yours truly, 


and the frustration that goes with working 
in Manhattan (traffic, parking, etc.), Allan 
is as sharp as a tack for this session. What 
he plays seems perfectly tailored for the 
song he and the other musicians work on 
that night. 

I begin to think that Schwartzberg's true 
talent—and that of any successful studio 
drummer—is his staying power. Allan rarely 
loses his edge. He seems to be able to call 
up an energy reserve and a heightened set 
of concentration skills when an ordinary 
drummer would be ready to pack it in for 
the day. The result is that the last session of 
the day for Schwartzberg often sounds as 
fresh and rewarding as the first. 

Schwartzberg is at Sunset Studios until 
8:30 P.M. He leaves his drums at the studio 
and races down to the Twenty Twenty Club 
where Maureen McGovern is nervously 
waiting for him. In minutes he's on stage 
with her and her band. After the set, which 
is about an hour long, I get to speak with 
Schwartzberg one more time. 

RS: It's been a long day. 

AS: Yeah, but the pace and the workload 
are things you get used to. I'm probably 
not as tired as you are. 

RS: You're probably right. You've played a 
number of roles today. You cut three jingles, 
did an album track, and played a live date. 
Does it ever get a bit overwhelming? 

AS: I feel like I'm a character actor. Years 
ago, before Robert Duvall became famous 
as an actor, I often identified with him. 
Duvall used to be a guy whose face you 
knew, but you didn't know his name, even 
if he was so believable in so many roles. 
That's the way I see myself. I'm not a star 
like Steve or Dave, [laughs] I just blew it. I 
was hoping that this would be the first drum 
interview that didn't mention Gadd and 
Weckl. 

As for my drumming, I have certain iden¬ 
tifiable things—emotional tom-tom fills, 
nice colors in sensitive parts, things like 
that. I try to take a drum part as far as I can 
without the drums sticking out or showing 
off. I say to myself, "What's the most I can 
do with this piece of music?" I'll do some 
inventive things when I can. Once I put a 
beer bottle on top of the hi-hat stand. I 
played the hi-hat and the bottle and got 
this high-pitched glass sound just before 
the backbeat. I don't ever see myself play¬ 
ing in a boring fashion. I always try to play 
with some wit. I consider Keltner, Richie 
Hayward, B.J. Wilson, and old-timer Sol 
Gubin to be really witty drummers. 

RS: It seems like you always try to use 
Yamaha drums. 

AS: I endorse Yamaha drums. I only went 
after a drum endorsement once, and that's 
when I discovered Yamaha drums. I was 
knocked out by their drums. I even got 
most of the studios in town to buy Yamaha 
equipment. Almost every studio of note in 
Manhattan now has a Yamaha drumset on 
the premises. 

RS: What's the ideal setup for you? 

AS: I like to play the Recording series. That's 




STEVE 
FERRO 

(Eric Clapton/Studio) 


P f -t>TO. LFE 

Although his drumming with Brian Auger’s | 
Oblivion Express won him a legion of fans, 
it was Steve Ferrcme's longtime stint with 
the soulful Average White Band, most 
notably, his rock steady syncopations on 
their hit album l Cut The Cake ! that 
launched him into the successful sessions | 
career he now enjoys. 

An impressive technician capable of laying | 
down the most intense grooves, Steve has 
long been a popular recording and tour 
choice with such diverse notables as 1 
| Chaka Khan r Peter Frampton, Steve 
Winwood. Al Jarreau. Paul Simon, George 
Benson and Duran Duran, who incorporated 
his funk/rock style as an Integral part of j 
their 'Notorious'' album ami four. Along the 
way Steve has also become a regular in 
Eric Clapton's all-star band (a position he 
occasionally shares with Phil Collins) and 
has recently assembled and recorded his 
own new group, Easy Pieces, 


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MODERN DRUMMER 


61 












the set I own. I have a 20" bass drum, and 
10", 13", and 16" toms, plus the Yamaha 
electronic pads. I use only Vic Firth sticks, 
and only Zildjian cymbals. My hi-hats are 
14" Zildjians. One of my favorite pieces of 
equipment, which isn't a Yamaha, happens 
to be a Roland mount that fits anything 
that's cylindrical. What this means to me is 
that I can mount my Octapads on anything 
that has a pole. 

RS: Do you still practice? 

AS: When I do things at sessions or live 
dates that I'm not happy with, or when I 
know I could have played better, I go home 
and practice. It could be something really 
basic, like a straight 8th-note bass drum 
pattern. But if I don't do it just right—like I 
might hear a little "skipping" feeling, a slight 
dotted-8th feel, in the playback—I'll go 
home and practice that. 

RS: How many other session drummers 
react the same way to a less than perfect 
session as you do? 

AS: I don't know. Probably not too many. 
RS: How many session drummers are there 
in the business who are making a good 
living and are working regularly? 

AS: I'd say there are about eight of us. I'm 
not including great players like Steve Gadd 
or Dave Weckl; they're on the road a lot. 
So the top six or so drummers are working 
five days a week. Drummers seven and 
eight are probably working four days week. 
RS: You obviously work five days a week. 
AS: Most of the time. 

RS: Could you, if you wanted to, work 


more? 

AS: No, I don't think so. It's pretty much a 
five-day-a-week situation. I would work 
seven if the music was worthwhile and the 
money was good, though. I recently did a 
great album project with Elliot Randall, El¬ 
liot Easton, and Will Lee that stretched into 
the weekend, but it was worth it because 
the music was so good. 

RS: What are the down sides of being a 
session drummer in New York? 

AS: You could, one day, find yourself star¬ 
ing at the telephone. Remember, people 
have to ask you to show up at a session. 
RS: Did you ever find yourself staring at the 
phone? 

AS: No, it hasn't happened to me, thank 
God. I'm waiting for it to happen, though. 
I'm always thinking that it's going to hap¬ 
pen today or tomorrow or the next day. I 
live in fear of the phone not ringing. I might 
get a call for only one session today and 
maybe nothing for the rest of the week. 
Then I start thinking, "Maybe this is the 
week that it all ends." A guitar player I 
know recently told me that he hasn't worked 
in three weeks. He said the calls just 
stopped coming. 

RS: If the studio work did, in fact, dry up 
for you, would you stay in music? Or would 
you do something else with your life? 

AS: Oh, I'd stay in music. Actually, I'm 
very prepared for the day when I don't 
have to play drums. I love producing rec¬ 
ords. I have a jingle company called Pic¬ 
ture Music. I've written, co-written, and 


arranged jingles. I'm ready. 

RS: The classic gripe against a session player 
is this: He's a hired gun. He has no real 
emotional connection to the music. To him 
the song is just another song and the ses¬ 
sion just another session. How do you re¬ 
spond to that? 

AS: It's a stigma that some of us are trying 
to live down. Let's face it, there are some 
session players out there who sound like 
machines. I think some studio musicians 
would be the first ones to admit that on 
certain kick-ass rock passages, it doesn't 
quite sound like they're playing standing 
up. You have to play believably. You strive 
to sound believable all the time. You know 
what I'm most proud of? 

RS: What's that? 

AS: That I was able to play live gigs with 
Stan Getz, Mountain, and Peter Gabriel in 
one career. 

RS: You even got to put your drum mark on 
some of Jimi Hendrix's music too, right? 
AS: That's right. I met Hendrix once. I was 
playing with Mose Allison at the time. I 
thought Hendrix was kind of a noisy player. 
He and his band were playing opposite us. 
He was a loud and lunatic kind of player. 
Later on I did a thing at Media Sound here 
in New York where I overdubbed the drum 
parts on some Hendrix tracks that were 
released after he had died. We could all 
swear that the session was spooked. Bars 
didn't count out right and other weird things 
occurred. That was a tough job for me 
because those guys [Hendrix and his band] 



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were wrecked when they played. I had to 
trace the tempo—or should I say tempos. I 
remember Hendrix counting off once. It 
went something like this: "One, two," and 
then in another tempo, "a one..., two..., 
three...." The records were Crash Landing 
and Midnight Lightning. 

RS: Have you done a lot of this sort of work 
in the past? 

AS: I'd say so. I also overdubbed a lot of 
Sly Stone stuff. I was amazed at how un¬ 
even the time was on Sly's material. They 
didn't use a click track back then. Fortu¬ 


nier off camera. 

RS: What contemporary drummers do you 
especially admire? 

AS: I enjoy Jim Keltner, B.J. Wilson, Richie 
Hayward, and Sol Gubin. I love Mickey 
Curry because he plays the way I like to 
play. Steve Shaeffer is a great drummer. He 
has absolutely perfect time. Dave Weckl is 
a fantastic player. I also admire Jeff Por- 
caro. 

RS: When you go home after a long day 
like this one, what do you do? Do you plop 
into a chair and relax? 


RS: Is there anything in particular that you 
want to accomplish before you give all this 
up? 

AS: I'd love to reach out and get into that 
zone of playing where the hands play all 
by themselves. In that zone you become a 
mere spectator; you watch your hands do 
the playing. I've experienced that a couple 
of times in the past. I'd like to get to the 
point where I'm doing it and experiencing 
it more often—that magical state of mind 
and body. I guess I just want to play like 
this drummer I hear in my dreams. 



nately, everyone was uneven together. Like 
the Beatles. 

RS: What are some of the other albums you 
played on that you're especially proud of? 
AS: Roxy Music's Flesh And Blood. I played 
on Peter Gabriel's first solo album, which 
is a great one. I also played on Alice Coo¬ 
per and Kiss records. I did a lot of the disco 
records in the mid-'70s. In fact, I have the 
dubious distinction of being credited with 
creating the disco beat on Gloria Gaynor's 
"Never Can Say Goodbye." 

RS: One thing you've done a few times 
over the past few years is sub on the Letter- 
man show. What's that like? 

AS: Best job of all time. It's 4:00 to 6:30 in 
the afternoon, when nothing else is going 
on around town, [laughs] You play with a 
hot band with hot music guests, your mother 
sees you on TV, and you make a nice taste. 
Paul Shaffer is the greatest—ten times fun¬ 


AS: I go home at night and think about 
what I could have played on a session but 
didn't. I'll tap my fingers on the table as I'm 
waiting for dinner. I can't shake the drums. 
I'm always worried about losing my edge. 
It's a bitch. If I go into a slump, I'll wonder 
if I'll ever get out of it. I have moments 
where I'm really creative, but then every 
once in a while I'll have to look at all the 
records on the wall. I'll say to myself, "Wait 
a minute, you've accomplished all this. 
Calm down. Besides, you're booked to¬ 
morrow. Be cool." But maybe that's one of 
the true secrets about making it as a ses¬ 
sion drummer. Maybe it's one of the rea¬ 
sons why I'm still here, still making a good 
living. I never come up for air. I keep dig¬ 
ging, I keep pushing. Maybe that's the way 
to stay around in this business. Anybody 
can climb up the session ladder. The trick 
is to stay up at the top once you get there. 


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Auditions can be both nerve-wracking and 
an excellent opportunity to show off musi¬ 
cal technique and skill. They can be re¬ 
membered as leaving a good impression or 
a bad impression—or a smile. 

Neil Grover had just completed his fresh¬ 
man year at Florida State University when 
he decided to audition for Saul Goodman 
at the Juilliard School of Music in New 
York. Neil continues the story: "I had de¬ 
cided to play a selection from Elliott Carter's 
'Eight Pieces For Timpani.' At the time, I 
was using Vic Firth timpani sticks, which 
Mr. Goodman was not too pleased about. 
After I tuned the timpani—Goodman drums, 
of course —/ looked directly at him and 
said, 'Mr. Goodman, I would now like to 
perform the Carter "March For Timpani.'" I 
took a deep breath in preparation to play, 
and he interrupted me to say, 'By the way, 
who is this piece dedicated to?'And I jok¬ 
ingly replied, 'This is dedicated to some¬ 
one named Saul Goodman, but I never 
heard of him!' Unfortunately, he didn't think 
that was very funny, and proceeded to lec¬ 
ture me on being a wise guy. I left that 
audition thinking I should cross Juilliard off 
my list!" 

Despite his inauspicious audition, Neil 
was accepted by the prestigious school. 
However, he chose to attend the New Eng¬ 
land Conservatory of Music, where he could 
study with Vic Firth, timpanist of the Bos¬ 
ton Symphony Orchestra. This was the 
beginning of a 12-year association between 
Neil and the musical environment of Bean- 
town, an association that still continues to¬ 
day. 

AB: When was the first time you performed 
with the Boston Symphony Orchestra? 

NG: As I recall, it was in 1975, when I was 
a student at Tanglewood. There was some 
type of mix-up where some of the percus¬ 
sionists that were supposed to be at Tangle- 
wood were still in Boston, playing for the 
Pops, so they needed someone at the last 
minute. I remember the personnel man¬ 
ager asking, "Would you play this 
afternoon's rehearsal with the BSO?" Of 
course I was thrilled. 

AB: What piece was the orchestra playing? 
NG: It was Scheherazade by Rimsky-Kor- 
sakov, which I knew. But I ran back to my 
dorm room, scraped up the music, and 
within an hour I made sure I knew it cold. 
AB: Which part did you play? 

NG: Triangle, which is really a very diffi¬ 
cult part. All the fellows in the section were 
very supportive and very nice to me. Ever 
since then, I've substituted in the orches¬ 
tra—occasionally at first and fairly regu¬ 
larly today. 

The section in Boston is wonderful. Frank 
Epstein is an artist; Tom Gauger is a won¬ 
derful percussionist; Charlie Smith is the 
mainstay of the section up there. Arthur 
Press has the most amazing snare drum 
technique; I know why they call it a "press 
roll"! And what can I say about Vic? He is 



Neil 


Photo by Liz McNeil 


the ultimate timpanist. 

One other musician in Boston who has 
been really close to me is Fred Buda. Fred 
is probably familiar to most people because 
he is the drummer in the Boston Pops, 
which is telecast on PBS. He's a consumate 
musician: He's a wonderful mallet player, 
plays timpani with great finesse, and he's a 
marvelous jazz drummer. I can learn some¬ 
thing just by listening to him. He's a real 
inspiration. 

Boston is a very good situation because 
the percussionists are like a big family and 
are supportive of each other. I learned a lot 
from my colleagues up there. 

AB: What is it like playing under the direc¬ 
tion of Seiji Ozawa? 

NG: In my opinion, Seiji has the best stick 
technique in the business. You know ex¬ 
actly where to place each note. He's a very 
demanding conductor; he knows what he 
wants and does what he has to do to get it. 
If something gets off slightly, he'll look right 
at you without hesitation. He's very much 
in control over the music he's conducting. 
I enjoy working with him. 

AB: You also play regularly with the Boston 
Pops, who play a somewhat "lighter" rep¬ 
ertoire than the traditional classics. How is 
it different? 

NG: There's a lot of running around—play¬ 
ing everything from mallets to accessories 
to the kitchen sink! Believe it or not, I play 
more in one Pops concert than I do in 


some entire ballet seasons. 
That's because most of the ar¬ 
rangements we do are scored 
specifically for the Pops and 
the arrangers know how to 
write for percussion. They are 
very difficult, "meaty" parts. 
AB: John Williams has been 
the conductor of the Pops 
since the days of Arthur Fied¬ 
ler. What's it like to play for 
him? 

NG: John Williams is an ex¬ 
cellent conductor and a phe¬ 
nomenal musician. Both his 
father and brother are percus¬ 
sionists, so he knows a lot 
about percussion. He's very 
sensitive to tone color and 
doesn't hesitate to tell you 
what he wants. 

AB: It's fortunate that he 
knows so much about your 
instruments. 

NG: That's evident by his writ¬ 
ing. Anybody who has played 
Star Wars knows that the tim¬ 
pani part is a greaf part. John 
Williams is very aware of the 
percussion section. If anything, he has toned 
down the section somewhat, because he's 
used to studio work, where they don't have 
to produce as loud a sound because 
everything's picked up in the recording. 
Boston has a tradition of aggressive percus¬ 
sion playing. Not to indicate that it's dis¬ 
tasteful, but it's a full sound, and there is a 
lot of presence in the percussion section. 
John also likes to hear a little more string 
sound, so he's changing the balance of the 
orchestra a little bit. He's a fine musician 
who is very supportive of the percussion¬ 
ists in the orchestra. 

AB: To change the subject, let's discuss 
your early years. Following high school, 
you attended Florida State University for 
one year. Who did you study percussion 
with at FSU? 

NG: I studied with Robert McCormick, who 
was a wonderful teacher and who helped 
me with my percussion playing. But soon I 
realized I wanted to concentrate on tim¬ 
pani so I could play in an orchestra, and 
that I needed to go someplace where it was 
musically more sophisticated. At that point 
I decided to transfer. Bob encouraged me 
to study with a major timpanist—someone 
like Vic Firth or Saul Goodman. 

AB: We already heard about your infamous 
audition at Juilliard. How was your audi¬ 
tion in Boston? 

NG: I had met Vic Firth the year before at 
Tanglewood. I heard him play and was very 


64 


MODERN DRUMMER 












Grover 


by Andrea Byrd 


impressed. I thought he would be a won¬ 
derful teacher. So I auditioned for him, and 
he told me right away that he would like 
me to come there and study with him. I 
told him about my audition for Saul 
Goodman, which he thought was humor¬ 
ous, and he told me to consider Juilliard 
because it was a good school. But I knew I 
wanted to study with him; Vic was the de¬ 
ciding factor. So I moved to Boston, got 
myself an apartment, and for the next three 
years I worked very hard while in school. 
AB: What type of things did you work on 
with Vic Firth? 

NG: We did all aspects of percussion play¬ 
ing—from the traditional marimba concer¬ 
tos to his snare drum books. I'd have to say 
I got the most out of him as a timpani 
teacher. Going through his book with him 
was very inspiring, but I benefitted the most 
from going through the repertoire with him. 
He's a wonderful musical coach. I inten¬ 
tionally scheduled the last lesson on Friday 
mornings, because Friday afternoons I 
would always talk him into sneaking me 
into the Symphony where I could listen to 
the concert. I'd always like to go through 
the repertoire of that week with him and 
then hear him play it. That was really a 
great experience. Vic has been a tremen¬ 
dous influence on my life, as well as a 
really great friend. 

AB: Did you concentrate on timpani or did 
you work on everything? 

NG: It was mostly timpani, but I also played 
a lot of mallets. I played the Kurka, Mil¬ 
haud, and Creston concertos, but I only 
played marimba when I had to. I was more 
interested in playing xylophone. And I was 
the only one at school who practiced bells, 
because I realized I would probably be 
playing bells more than anything. I had no 
intention of becoming a marimba soloist. I 
used to shy away from practicing on the 
marimba because I wanted to practice on 
the instruments that I would be playing on 
professionally. That has paid off because I 
do play a good deal of xylophone and bells, 
and I have also played marimba profes¬ 
sionally. 

AB: When was that? 

NG: In 1983, I took a year off from all my 
free-lance activities to go on the road with 
the Broadway production of The Pirates Of 
Penzance. It has an incredible mallet part 
that far exceeds any concerto I know. It's 
two hours of solid playing. 

AB: How did you get the part? 

NG: It's a funny story. They had trouble 
finding someone to go on the road who 
could play the book. Karen Ervin had played 
it for a while and then left. My name had 
come up, so when they called me, I told 


them I would do it. I went down to pick up 
the music at a place on Broadway. The 
clerk handed me the book, I opened it up 
to look at it, and then handed it back, 
saying, "You gave me the piano book by 
mistake." The clerk replied, "No, that's the 
mallet book!" And I only had two weeks 
before the first rehearsal! I literally locked 
myself in Jon Hass's loft, which he let me 
use, and practiced eight hours a day. I 
wanted to know it cold by the first re¬ 
hearsal. 

AB: What was the part like? 

NG: The setup included a 4 1/2-octave ma¬ 
rimba, a 3 1/2-octave xylophone, orchestra 
bells, and two octaves of chromatic boo- 
bams. And the part was non-stop. Not only 
was it technically demanding, it was writ¬ 
ten piano-style, utilizing both the treble and 
bass clefs. They put all the string parts into 
the percussion part, so I was playing the 
bass, cello, viola, and violin lines! 

AB: How many people were in the en¬ 
semble? 

NG: There were 13 people in the band, 
including two synthesizer players, some 
winds, and three percussionists—myself, a 
drummer, and another percussionist play¬ 
ing chromatic timpani parts! It was tremen¬ 
dously demanding. That was a period when 
my mallet chops were at an all-time high, 
just from playing two hours of mallets seven 
times a week. It was a great learning expe¬ 
rience. 

AB: What was it like on the road? 

NG: We traveled all over the country for 
almost a full year. I had just started Grover 


Enterprises, and I took the opportunity to 
show my products all around the country. 
We would usually be in one place for a 
week or two. We would play a show in the 
evening, and then I would spend the rest of 
my time visiting the local music stores. If 
there was a university in the area, I would 
find out when the percussion ensemble met 
and then go talk to the director. I actually 
did a combination clinic: I talked about the 
mallet parts in the show, since it was so 
unusual, and then I spent some time intro¬ 
ducing my products. I had a really good 
time. 

AB: How did you become involved with 
the Boston Opera? 

NG: At that time it was more or less a pick¬ 
up orchestra. They asked the timpanist, John 
Grimes, who they should get. Since he en¬ 
joyed working with me, and since Sarah 
Caldwell liked my playing, I got the job as 
principal percussionist. John and I started 
working together and developed a great 
relationship, which lasted for seven years 
with the Opera. 

AB: How is playing with the Opera differ¬ 
ent than playing with the Symphony? 

NG: The Opera is completely different, 
because the orchestra is an accompanist to 
the singers. I think this is something every 
musician needs to learn. Music is an ex¬ 
pressive art form, and the greatest expres¬ 
sive musical form is singing. You always 
hear musicians talking about "bel canto," 
which is a singing quality. My colleague 
John Grimes is a very expressive timpanist, 
and we would often discuss this idea to- 



Photo by Kevin Hickson 


MODERN DRUMMER 


65 





gether. I believe in exciting percussion play¬ 
ing, but I had to learn to tone it down, 
because people are conning to the opera to 
hear Beverly Sills, not Neil Grover. So I 
learned to have excitement in my playing 
but yet learn to accompany. 

AB: Sort of a controlled excitement. 

NC: That's a good way to put it. It's like an 
inner intensity in the playing. This was a 
repertoire I was unfamiliar with except for 
a few famous operas like La Boheme. We 
went through a lot of repertoire, and I 
learned a lot of music. 

AB: There are many difficult percussion 
parts in opera literature that most people 
don't consider part of the "percussion rep¬ 
ertoire." 

NG: Right. Carmen has some very difficult 
tambourine parts that are not in the orches¬ 
tral suite. We do La Boheme on tour with 
just one percussionist and timpani, and we 
cover almost all the parts ourselves. It's a 
juggling act within a multiple percussion 
setup! 

John Grimes and I would discuss every 
aspect of working together—from match¬ 
ing tone colors to phrasing together. I'd 
never worked with someone for an ex¬ 
tended period of time—in this case seven 
years—where we tried to work as one unit. 
We insisted that all the other percussionists 
work together as one unit, not as individ¬ 
ual players. We would discuss cymbal col¬ 


ors and timpani colors. We would use dif¬ 
ferent bass drums for different pieces. 

AB: You also play for the Boston Ballet. 
How is that different? 

NG: The ballet orchestra accompanies the 
dancers, and the percussion is used mainly 
in the fast numbers. It's more aggressive 
playing because you don't have to worry 
about covering the singers. Plus the music 
is more rhythmic and driving. 

AB: Do you play mainly percussion or tim¬ 
pani? 

NG: As I was principal percussionist in the 
Opera, I went to the Ballet as a percussion¬ 
ist. And now I share the timpani playing. 
AB: Is it a smaller orchestra than the Op¬ 
era? 

NG: The Ballet uses anywhere from 30 to 
40 people, whereas the Opera uses a full 
complement. So it's a different type of ex¬ 
perience. I'm still learning a lot of the bal¬ 
let repertoire, which is different. I found 
the opera repertoire more interesting, be¬ 
cause sometimes the ballet music is back¬ 
ground for the dancers. 

AB: And then you do 48 performances of 
The Nutcracker*. How do you do it? 

NG: After a while you don't even open 
your music; you just know it. We have to 
try to entertain ourselves. This year I put up 
a little mirror on the side of the pit so I 
could see the dancers every once in a while. 
Even if it gets monotonous, you realize you 


have a job to do, and you have to do the 
best you can, consistently. 

AB: Is it different playing in the pit than on 
stage? For example, the audience is not 
looking directly at you but rather at the 
action on stage. 

NG: In that aspect, it's more relaxed. But 
the projection is totally different. For in¬ 
stance, the instruments don't project as 
much as they do on stage. You can play out 
more in the pit, but since part of the pit is 
enclosed, it's sometimes deafening down 
there. You have to be careful because you 
don't want to work in a situation that's 
going to damage your hearing. I prefer to 
play on a stage, because certainly I like the 
attention paid to the musicians, and you 
have better projection, and you can hear 
better. It's hard to hear what's going on 
across the pit. So there are different bal¬ 
ance problems. In ballet and opera you 
have fewer strings than in a full symphony, 
and consequently the brass and percussion 
have to alter their dynamics. My forte in 
the pit is going to be different than my forte 
on stage, just as a forte for Mozart is going 
to be different than a forte for Mahler. It's 
all relative, and you have to use your ears 
and compensate. 

AB: So far we have discussed your career 
as a performing percussionist, but there's 
another side to you, too—that of a busi¬ 
nessman. When did you form Grover En¬ 
terprises? 

NG: I never really decided to start a busi¬ 
ness. In 1979 I couldn't find a good tam¬ 
bourine, so I decided I was going to try to 
make one. I took apart all my tambourines 
and started experimenting on the jingles. I 
hammered them, threw them in my barbe- 
que and cooked them, poured water on 
them—I tried everything! [laughs] I finally 
made a jingle I liked and put it on a shell I 
had. One of my friends said, "That's pretty 
nice. Could you make me one?" At that 
time I wasn't doing a lot of work, so I 
agreed to make him one. The next thing I 
know, somebody else asked for one, and 
then someone else. So I made a few. Then I 
got a call from Lone Star Percussion in 
Texas, and they wanted to buy my tambou¬ 
rines. I said that I wasn't really in the tam¬ 
bourine business, but they told me, "You 
are now!" [laughs] And all of a sudden I'm 
in business. 

Over the years it has evolved to where 
I'm making my own shell and my own 
jingles. It used to take me three hours to 
hammer a set of the original jingles. My 
favorite tambourine is the beryllium cop¬ 
per, because its jingles are unique. To me, 
it's the ultimate sound. There are occasions 
where I'll use the German silver if I need a 
little extra articulation, or the phospher 
bronze if I want a darker sound. I feel a 
percussionist should have a variety of col¬ 
ors at his or her disposal—the way a painter 
has more than just one or two primary 
colors on his palette. 

AB: You are also well known for your Su¬ 
per Overtone triangle. How did that de¬ 
velop? 



66 


MODERN DRUMMER 




NG: I had the assistance of MIT. One day I 
went down to their acoustics and vibration 
lab and asked them how I could make a 
triangle with a lot of overtones. A couple of 
students were intrigued, so we worked to¬ 
gether, and that meant I had the greatest 
research facility in the world at my dis¬ 
posal! That was my "research and develop¬ 
ment" of triangles. 

AB: Did you try to copy the sound of a 
triangle you had previously heard? 

NG: No. There was only one triangle that I 
really liked, and that was an old Ludwig 
triangle owned by the Boston Symphony. 
Charlie Smith told me that Sy Sternberg, 
who used to be a percussionist with the 
Boston, went through hundreds of triangles 
to pick that unique one out. Charlie lent it 
to me, and I took it down to MIT and had it 
analyzed. Most people don't realize that 
there's more to a triangle than just metal 
and bending. I started studying metallurgy 
and asking a lot of questions until I came 
up with just the right one. I'm still trying to 
figure out what to do with the hundreds of 
trial triangles I have sitting in my base¬ 
ment! 

AB: How would you describe the sound of 
your triangle? 

NG: I tried to get away from having one 
pointed sound. If you had to graph the 
sound, instead of one little line, it would 
be a whole spectrum of overtones. I want 
to be able to play my triangle for ten differ¬ 
ent people, ask them what pitch they heard, 
and get ten different answers. There should 
be a real blending of a lot of different fre¬ 
quencies. The difference between a bell 
and a triangle is that a bell should have 
one predominant fundamental with as few 
overtones as possible. A triangle should be 
the opposite; you want to mute the funda¬ 
mental and have as many overtones pre¬ 
dominate as possible. 

AB: You make both a 6" and a 9" triangle. 
Do you have a preference between the 
two? 

NG: I had originally developed a 9" tri¬ 
angle because I thought that was a proper 
orchestral size. Then a lot of people began 
requesting smaller triangles that were a little 
lighter with a higher fundamental pitch. 
Actually, the 6" size has become the more 
popular model. People who I never de¬ 
signed things for are using them. I've even 
heard of marching bands and drum & bugle 
corps using my triangles. I can't believe 
that! But it makes me feel good. 

AB: One of your newest developments is 
an orchestral snare drum. Can you describe 
what makes it special? 

NG: It's a 6 1/2 x 14 fiberglass drum that has 
some unique features, like nodal venting. 
You have to have some escape for the air, 
so they have traditionally just drilled an air 
hole in the center of the shell. I experi¬ 
mented with different placements of the 
hole, and found the best place to vent the 
air is near the nodal point in the shell, 
which is about 1/5 ofthewayup—the same 
as a marimba bar. That allows air to escape 
quicker and get back into the drum quicker. 


And now I've given away my trade secret! 
But the drum is more responsive, and the 
Wolf cable snares give it a darker sound. I 
tested it in the. orchestra and it sounded 
like a million dollars. 

AB: You are one of a growing number of 
small percussion manufacturers in the coun¬ 
try making specialized products. 

NG: Right. I'm trying to fill a niche. A lot of 
the larger companies, while they started 
with high quality products for percussion¬ 
ists, have long since abandoned us. They 
have moved on to making drumsets and 
importing things from overseas. The seri¬ 
ous percussion market is relatively small in 
relation to the drumset or rock market. So 
there are a lot of companies like mine that 
are growing and filling the void. 

AB: The rise of the small manufacturer. 

NG: That's right. My business started out of 
necessity. I couldn't find a tambourine I 
wanted. If there had been great tambou¬ 
rines on the market then, I probably 
wouldn't have gotten into it. It's a lot of 
work, but I love doing it. It's an honor for 
me to think that my products are being 
used all over the world. 

AB: There is a person behind your prod¬ 
ucts. 

NG: That's the important part. I'm the sales¬ 
man, the manufacturer, the shipping clerk. 
The worst thing that can happen is that you 
might get my answering machine instead 


of me! [laughs] If someone has a question, 
they can get in touch with me, and I'll try 
to answer it to the best of my ability. I put 
my name on each product, and I take a lot 
of pride in that. I'm not doing it out of ne¬ 
cessity; I enjoy doing it. I want people to 
feel that my products contribute something 
to their performance. If I can accomplish 
that goal, then I know I'm successful. 

AB: What is your "real" job? Is playing 
your job and the business your hobby, or 
vice-versa? 

NG: No, I would say that I have two sepa¬ 
rate lives. I still do a lot of playing, al¬ 
though not as much as I was doing. But I 
spend many hours every day in my busi¬ 
ness. Many times I've stayed up all night 
working. And I'm always trying to think of 
new things. 

AB: How do you divide your time? 

NG: I probably average at least 40 hours a 
week at the business. Some weeks during 
the Pops season I'm playing concerts six or 
seven times a week, plus two or three re¬ 
hearsals, and I still do the business. Some¬ 
times I don't have a concert all week, and 
then I'll devote all my time to the business. 
I'm doing a little bit of a juggling act right 
now, but I love playing and I love making 
products. This is the unique combination 
that makes me me! 

m 


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67 






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"I got to know and like the work of a drummer by the name of 
Tin Can Allen. He played a kazoo and used a tin can to get a 'wah- 
wah' sound that gassed audiences. Like many other good drum¬ 
mers, Tin Can was a showman." 

Hampton replaced Allen with Paul Howard & the Quality Sere¬ 
nades. The band worked at L.A.'s Club Alabam, the Kentucky 
Club on Central Avenue, and the exclusive Monmartre Club in 
Hollywood, and recorded for Victor. Hamp made his first record¬ 
ings in 1929 and early 1930 with the Serenaders. According to 
jazz historian Stanley Dance, the Serenaders "were a cut above 
the many others catering to the teeming nightlife of the Cold 
Coast." The band was made up of top players, including trombon¬ 
ist Lawrence Brown, who became internationally known and was 
widely admired during his long stint with the Duke Ellington 
Orchestra. 

Hampton's association with Les Hite helped establish his name. 
The drummer first played with the Elkins-Hite Sextet. But his most 
important job up to that point was with the 12-piecer headed by 
Hite: "We worked a lot on L.A.'s South Side. Clubs and organiza¬ 
tions, many of them for women, put on dances almost every night. 
And the jobs paid well. Gladys Riddle, who later became my wife, 
was a member of one of the organizations, the Antiques Club. She 
first saw me with Hite at one of those affairs. 

"The word got around about the band. We had our thing to¬ 
gether. We played good music with a sense of interpretation. Our 
library included Ellington compositions, some Casa Loma charts, 
our own things, and stock arrangements. One night, a guy who 
worked at Frank Sebastian's Cotton Club in Culver City—a top 
place—heard us and told Sebastian that the band was very lively 
and swinging. We got an audition, and Sebastian hired us immedi¬ 
ately to play on a show with the Mills Brothers. 

"The band was a hit. A lot of musicians came to hear us. I met 
Charlie Barnet, who later became a great bandleader, during this 
engagement. He was at the Cotton club every night. 

"The club was a great showcase," Hamp explained. "Like the 
Cotton Club in New York, Sebastian's had big shows. There were 
'pony' chorus girls, who did the fast dances, and tall models, too. 
They were really beautiful girls. Sebastian hired the best talent. 
Eddie 'Rochester' Anderson, a star of The Jack Benny Show on 
radio and TV later on, was one of the headliners at the place. And I 
remember working with Rutledge and Taylor there. They were 
fantastic dancers. 

"In 1930, following the Mills Brothers, Louis Armstrong opened 
at the club, and we were held over. The management wanted the 
Hite band to back Louis because we could read real good and cut 
the show. It was a tremendous thrill for me to be working with 
Louis. He had been my man for so long. 

"I wasn't the only one who found Louis exciting. All kinds of 
show people and musicians, nightclubbers, and just plain folks 
crowded the club every night during the nine months Louis was 
the headliner. And from what I was told, listeners up and down the 
Coast and into the Midwest looked forward to our broadcasts. 
Louis was a favorite from Vancouver to Tijuana and as far East as 
maybe St. Louis. Those late-night remote broadcasts thrilled a 
whole lot of people. The reason? Louis's playing was unbelievable. 
There was so much melody, so much going on in his solos. 

"I was playing drums most of the time back then. But I did have 
one feature number on orchestra bells with Hite, 'Song Of The 
Islands.' I played Louis's solo from the record and it tickled him. 


Louis encouraged me to play behind him when he sang and 
suggested I do more numbers on the bells. Later we did 'Rockin' 
Chair' in the show. 

"Louis and I became great friends during the engagement. I was 
his music librarian, and he used my little Ford car. Hey, the guy 
was so great and did so much for me. He was the one who gave 
me my start on vibes. 

"One afternoon in the fall of 1930, we went in to record for 
Okeh. We had done some good sides for the label a few months 
earlier. I played drums on things like Tm A Ding Dong Daddy 
From Dumas,' 'Confessin,' and 'Body And Soul.'This time around, 
Louis spotted a vibraphone in the corner of the recording studio. 
'Can you play it?' he asked. Being a young blood with some 
confidence, I said, 'Yeah, I can play it.' It had the same keyboard 
as the xylophone, and I was familiar with that. Louis said, 'Play it!' 
And I did, on 'Memories Of You.' Eubie Blake had sent Louis an 
arrangement of the tune. I played the introduction on the record 
and also behind him when he sang." 

Hampton's interest in vibes progressively grew. Though he loved 
drums and earned his living playing them, he wanted to excel on 
this new instrument. Gladys Riddle, by then his sweetheart, sensed 
this was a direction he ought to follow, and encouraged him. 
Hamp set up the vibes at home and practiced endlessly, even on 
days when he didn't really feel like it. 

His need to be the complete musician, along with Gladys's 
prodding, motivated him to study piano, harmony, and counter¬ 
point at the University of Southern California, on and off, over an 
18-month period. Hampton came to know exactly how music was 
organized. In addition, his training sharpened his ear. It was no 
mystery to him where music was going, or how the chords moved. 
He couldn't be fooled if someone shifted gears and changed keys 
on him. 

As Hamp became increasingly proficient on vibes, his need to 
play them on the job at Sebastian's increased. "But Les Hite didn't 
approve, and some of the cats in the band agreed with him," 
Hamp said. "They'd all insist, 'Just play the drums, man!' So I left 
Hite and formed my own band. As a leader, I could play all the 
instruments: drums, vibes, piano." 

Soon after Louis Armstrong returned to the East, Hamp took his 
new band, which he co-led with trumpeter Buck Clayton, into the 
Cotton Club. Sebastian wanted him at the club because he felt 
Hampton could draw crowds. During the Armstrong engagement, 
Hampton had attracted attention with his flashy drum solos. He 
would start on drums, then proceed to play on the walls and tables 
of the nitery. It was good show business. A booking agent by the 
name of Jack Hamilton also had great faith in Hampton's abilities 
as a musician and showman, and booked him up and down the 
West Coast. 

"It was a good band," Hampton said. "I hired Don Byas, a great 
alto player from Muskogee, Oklahoma, and put him on tenor. He 
did most of the charts for the group. Teddy Buckner was on 
trumpet, Herschel Evans on tenor sax, Caughey Roberts played sax 
and clarinet, the pianist was Henry Prince, and Johnny Miller, who 
later played with the Nat 'King' Cole Trio, was our bass player. 
Herschel and Buck left after a little while; Buck went to Shanghai, 
China, to play in a club called the Canidrome, and Herschel 
joined Basie." 

All the while, Hampton continued to develop as a drummer and 
vibes player. "Some people had a strong effect on me. One was a 
drummer by the name of Alton Redd. He had some good ideas and 
used to work with bands in the movie studios, creating 'atmos¬ 
phere' on the set. I paid very close attention to Sonny Greer, with 
Duke; he was a great showman, a very personable cat, and had an 
ability to make wonderful 'colors' for Duke's band. He and Duke 
were a great team. 

"Cuba Austin, the drummer with McKinney's Cotton Pickers, 
was another great showman; I learned some tricks from him. The 
black tap dancers certainly were a major source of ideas for me. 
The little 'riffs' that drummers in the 1930s and 1940s played on 
the snare drum—many of them came from the black tap dancers. 

"There really was no one around on vibes when I began. A few 
people played xylophone, but mostly for effects. Red Norvo and 


68 


MODERN DRUMMER 



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Adrian Rollini made an impression in the 1930s. Red concentrated 
on xylophone; he didn't begin on vibes until the early 1940s. And 
Adrian played a lot of other instruments in addition to vibes. 

"But I didn't listen to them," Hamp insisted. "My models were 
instrumentalists like pianist Earl Mines, tenor man Coleman Hawk¬ 
ins and, of course, Louis Armstrong. I brought Louis's ideas to the 
vibraphone, later adding stuff I had learned from the other guys. 
Somehow I got credit for being the pioneer on vibes. I guess I got 
there first. 

"Showmanship has always helped me. I must say that," Hamp 
commented. Sometimes accused of being too concerned about 
audiences, Hampton comes from a generation that played theaters 
and clubs—did shows. A musician had to hold his "spot" in a 
presentation, or it would go to someone else. Jazz and popular 
music were show business. "I became involved in showmanship 
so I could communicate better with audiences. And if you did 
things that pleased the people, there was more of a demand for 
your services. Showmanship is still a factor in what I do." 

It was Hampton's capacity as a musician, however, that ulti¬ 
mately made him a major star. Benny Goodman was the key to his 
future. Hamp's lady, Gladys, set the stage, though it didn't seem so 
at the time. She became ill and had to be operated on. She went 
home to stay with her mother during the recovery period, and 
Hampton took his band off the road. He went to work in San 
Pedro, in order to be close by. 

He did so well there—"I practiced all the time and stayed in top 
form"—that the owner moved him and his group down to his 
place on Sixth and Main in L.A. called the Paradise. It was a club 
where sailors stopped for those last few beers before returning to 
base in Long Beach. Hampton became very successful at the 
Paradise. The management was motivated to take the sawdust off 
the floor, put white linen cloths on the tables, and charge a $1.50 
fee to get in. There were lines around the block. As a result, Benny 
Goodman heard about Hamp. But he wouldn't have if Gladys 
hadn't been ill and Hamp, responding to this, had not come off the 
road. 

"One night John Hammond, who helped Benny in so many 
ways, brought Benny, Gene Krupa, and Teddy Wilson to the club," 
Hamp explained. "I wasn't aware the guys were in the place until I 
heard some unusual playing. The clarinet work was out of sight. 
Then I thought to myself, 'Wow, Tyree [Glenn]—who filled in for 
me on drums—is really swinging.' Of course, it was Gene. By the 
time Teddy soloed, I knew something really great was going on. 
The four of us went on for two hours." 

Goodman knew he had a good thing. He brought the quartet 
into the recording studio the very next day, August 26, 1936. And 
the first Goodman Quartet sides—"Dinah," "Exactly Like You," 
and "Vibraphone Blues"—were made, the latter two featuring 
Hampton's vocals. But it was his work as a vibraphonist that 
brought him immediate recognition. Hampton played with un¬ 
usual facility and flair, and made the music work for him. The 
training and constant practice paid major dividends. 

Goodman asked him to join his band, to come East to play on 
the Camel Caravan radio show. Hamp accepted, making only one 
specification. He'd come if he could bring Gladys. "Of course," 
B.C. said, and Hamp drove East in Gladys's white Chevrolet, 
marrying the lady along the way in Yuma, Arizona. 

Hampton's relationship with Goodman, who was a rather diffi¬ 
cult man, was extremely positive. The clarinetist gave him every 
chance, pushing him into the foreground. 

As Hamp has told me on several occasions, "Working with 
Benny was an important thing for me, and for black musicians in 
general. Black and white players hadn't appeared together in pub¬ 
lic before Teddy Wilson and I began working with B.C. In fact, 
Teddy appeared as an intermission pianist with Benny, collaborat¬ 
ing with him and Gene only on the trio recordings, before we got 
the quartet together. Looking back, I feel honored to have been a 
part of that dramatic change. It helped make possible what hap¬ 
pened later. Benny should receive all the credit in the world; he 
treated us great. Gladys and I traveled in the room right next to his 
on trains, and he insisted that Teddy and I get the best accommo¬ 
dations in hotels." 


70 


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Being in what was considered "the big time," Hamp was on 
intimate terms with the best drummers. He learned from them, and 
they from him. His favorite was Dave Tough, who replaced Gene 
Krupa in the Goodman band in March of 1938. 

"Dave was the greatest timekeeper we ever had in the business," 
Hampton said. "Sid Catlett was fine, so was Cozy [Cole]. And 
Chick Webb had this marvelous rhythmic feeling in his playing 
and was a great soloist. But Davey was fantastic to have in a band 
or small group. He gave you so much freedom because his time 
was so great, and because he responded to all the important things 
that were happening. 

"In the quartet, he was dynamite on those last choruses. He had 
a way of playing the cymbals. The sound swelled, the pulse 
grabbed hold, but the time never moved. Only he could do this. 
He'd sit there so correct and straight. And it all came out so natural 
from his hands and foot—what a wonderful foot! 

"Dave hated playing the big solo numbers, like 'Sing, Sing, 
Sing.' He told Benny to let me play that stuff, that it was in my 
groove. Dave wasn't flashy or too technical. But every band he 
was with rose to the top because he got to the roots of drums." 

We then turned the conversation to Gene Krupa. "He was the 
miracle drummer-boy," Hamp chuckled. "He had great technique 
and did things most people had never seen or heard before. A 
great showman, he had a way of reaching audiences—the way he 
used his arms, chewed gum, the movements of his body, how his 
hair fell in his face. The people, particularly the girls, went for that. 
Gene was a great drummer. He made everyone believe what he 
did on drums. He was very professional." 

During the four-year association with Goodman, Hampton not 
only recorded and played with Goodman, but cut in the neighbor¬ 
hood of 90 sides for Victor with musicians in his peer group. 
Among the players with whom he was associated were Charlie 
Christian, Ziggy Elman, Jess Stacy, Vido Musso, and Allen Reuss 
from the Goodman band; Cootie Williams, Johnny Hodges, Law¬ 
rence Brown, and Sonny Greer out of the Ellington organization; 
and Dizzy Gillespie, Milt Hinton, Coleman Hawkins, Ben Web¬ 
ster, Chu Berry, Freddie Green, Zutty Singelton, Nat "King" Cole, 
Sid Catlett, and Cozy Cole. These recordings, perhaps more than 
any other assemblage of Hampton records, define how well he 
played each of his instruments. On such numbers as "Drum Stomp," 
"Gin For Christmas," and "I Know That You Know," he drummed 
up a storm. His enthusiastic, strong pulse uplifted his colleagues. 
His solos, notable for a swinging use of rudiments, great speed, 
and instinctive sense of development, certainly were the envy of 
young drum students. Hamp simultaneously was flashy and musi¬ 
cal, though not quite as subtle as some other drummers. 

In September 1940, after the Goodman band broke up because 
of the leader's trouble with his back, Hamp decided to go out on 
his own—with B.G.'s blessing. "When I formed my own band," 
Hamp said, "I hoped I would bring to it the sort of discipline that 
Benny did. He was a tough leader and got good results." 

In the new Hampton band were such future stars as tenor 
saxophonist Illinois Jacquet, trumpeter Ernie Royal, guitarist Irving 
Ashby, pianist Milt Buckner, and drummer Lee Young, among 
others. A parade of excellent musicians passed through the band 
over the years, including Dexter Gordon, Shadow Wilson, Quincy 
Jones, Charles Mingus, Joe Newman, Clifford Brown, Art Farmer, 
Al Grey, Pepper Adams, Arnett Cobb, Jerome Richardson, Wes and 
Monk Montgomery, Johnny Griffin...the list goes on endlessly. 
And lest we forget, Dinah Washington and Joe Williams sang with 
the Hampton band. 

The band has gone through a number of phases and continues 
to evolve to this day, with Hampton as the central focus. It moved 
from swing, to bop, to Latin, to rhythm & blues, culminating in the 
present Hampton 18-piecer that concerns itself primarily with 
contemporary jazz—though Hamp, ever the audience-pleaser, never 
turns down requests for the Hampton hits like "Flying Home" and 
"Hamp's Boogie Woogie." 

An innovator as a band leader, Hamp introduced electric bass 
and organ to big bands. Free and open, he has allowed his musi¬ 
cians to be expressive; he learns from them, and they get more 
than a little going to his "school." His work as a drummer remains 


72 


MODERN DRUMMER 





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rooted in the traditions of mainstream jazz, though his instincts 
and training make communication possible with younger players. 

Lionel Hampton is best revealed as an artist on live recordings. 
A key Hampton performance on vibes is his rendition of "Star¬ 
dust," mostly in double time, from a 1947 "Just Jazz" concert in 
California. I also suggest the recording of the Esquire Ail-American 
Award Concert at Carnegie Hall. Both albums are on the old 
Decca label. 

"Stardust," an example of Hampton's ability to remake a piece 
of music, is permeated with his personality and various jazz sub¬ 
tleties. He has added a lot to the original material without sacrific¬ 
ing its basic quality, shape, and message. One senses when listen¬ 
ing to this extended improvisation that Hampton digs more and 
more deeply into himself as the solo develops. Often one gets the 
impression he is carrying on a conversation between the material 
and himself. 

The Carnegie Hall recording indicates how powerful and natu¬ 
ral the Hampton band was at its peak and how important its leader 
was to its impact. In its best moments, it projected an enviable 
sense of affirmation, immediacy, and love. 

The recordings Hamp has made over the years, from the 
Goodman quartet items to those he taped with Art Tatum and 
Buddy Rich, remain contemporary. Yes, Hamp is linked to swing, 
but his training and capacity to learn have allowed him to move 
along. At 80, he is anything but dated. 

He frequently gets out to hear musicians, and cites numerous 
drummers as favorites, such as Duffy Jackson, Joel Rosenblatt, 
Frank Dunlop, Art Blakey, Elvin Jones—"who plays counterpoint 
with himself—and such former Hampton drummers as Shadow 
Wilson, Freddie Radcliffe, Alan Dawson, Ellis Bartee, and his 
current drummer, Jimmy Ford. 

"Jimmy plays some miraculous things, using his hands and feet 
in a very creative way. I practice with him all the time, and we 
have come up with very interesting triplet ideas that we use on 
gigs." 

For Hamp, swing is the thing. Without the beat, he says, the 


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music is not jazz as he knows it. "The drummers that have come 
up since the 1950s are too involved with intricate rhythms—one 
rhythm in the right hand, another in the left, something else hap¬ 
pening with the feet. In some cases, the swing is left out. And that's 
unfortunate, because horns can't really swing on their own. 

"I believe in adventure when it comes to playing drums, but the 
time feeling and the sense of movement have to be there. Drum¬ 
mers don't use the bass drum enough these days. The bass drum is 
there to play; it's not an ornament. It adds to the sense of swing. 

"One thing really bothers me about some of the young drum¬ 
mers: They play too much, get in the way when a soloist is 
expressing himself. A drummer should take the spotlight when he 
has a solo. The rest of the time, his job is to be supportive and to 
swing. 

"At one point in the 1970s, I thought drummers were lost," 
Hamp said. "The swing was gone. It didn't seem important to the 
guys coming along. I stood in front of several of my bands and 
wondered what was happening. And then things started to turn 
around. 

"The best of the jazz players—drummers and horn men— swing. 
Dizzy swings and gives you a good melodic line when he plays; 
Bird always swung on his horn. The better young cats incorporate 
the feeling in their work. It's a must, you understand? 

"I like Max [Roach]; he's the greatest of the modern drummers— 
a master. Max admired Chick Webb; he came up with the Benny 
Carter band. He has a good foundation. I played with him last year 
at the Jackie Robinson festival in Connecticut, and we got down 
with it. They were really finger poppin' around the park. I told 
Max, 'You haven't forgotten your roots.' 

"I'm encouraged by what I hear now. Drummers and all players 
are returning to the tradition. Young musicians, in particular, are 
learning from the old masters, reinterpreting what they've done, 
and going on from there. 

"I've lived through a lot in jazz," Hamp concluded. "But my 
love for the music and playing remains strong. I look forward to 
every day. I'm busy, still traveling all over this country and around 


the world, still bringing music to the people. I tell the young 
musicians, 'You have to give the people out there the things that 
they want. They must be considered! You don't have to be com¬ 
mercial; just understand that the people who come to see and hear 
you don't know as much about music as the players and compos- 
ersdo.' 

I'm involved with new ideas; they excite me. But I always give 
my audiences something they can take home with them. When I 
do a concert or a show, I play a couple of things for the fans and 
then a few numbers for myself. It works out better in the long run." 

Hamp got up just before I left, and played me a new CD that 
featured the original Benny Goodman Quartet. As we listened to 
Gene, Teddy, Benny—and Hamp, of course—he seemed to fill up 
with feeling. After three numbers he took my arm, looked very 
intently at me, and said, "Even though a lot of musicians are great 
today, they don't have that sort of magic in their playing. I don't 
know what it was. Maybe the times and chemistry were special. I 
was young. The music was happening. Who knows?" 

The words came in a rush. The memories obviously were rel¬ 
ished. A climactic moment of our two-hour interview, it closed the 
book on the past, and we talked about what he had coming up in 
the future. He wandered back to the vibes and played some after 
the CD had run its course. We had come full circle. 

Hamp insisted that he wants to keep going and play and com¬ 
pose music that is meaningful to him. A busy man who has little 
time for leisure, Hampton obviously is kept young by the constant 
activity. "I wake up every day and look forward to what might 
happen," he said. "There are so many possibilities. I could write 
another standard like 'Midnight Sun,' or get started on a suite 
along the lines of the 'King David Suite.' I could play my instru¬ 
ments better than I did yesterday. I always have the feeling that 
each day will offer me a good musical experience. 

"My responsibility? To remain in good form. When you leave, 
I'm going to practice—some vibes, drums, perhaps a little piano. I 
never can tell what'll happen when I go to work in the evening. 
That's what makes it all worthwhile." 





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by Gil Graham 


Solo Fills And Figures 



MUSIC KEY 


In the last article in this series, we looked at fills 
and the importance of reading ahead in order to 
execute the fill and set up the figure properly. In 
this article, I will explain some fill exercises de¬ 
signed to further develop your counting and im¬ 
provising skills. 

In my teaching experience, I have found that 
many chart reading problems stem from the ina¬ 
bility to count and play simultaneously. One exercise I have found 
useful is to improvise a solo through an exercise rather than 
playing time. This challenges your improvising and creative abili¬ 
ties and also helps to further your counting ability. 

In previous articles, we have looked at various dotted quarter- 
note figures. I have explained how to play those figures with and 
without fills. In this article we will look at how to expand fills to 
such an extent that you are indeed soloing through the entire 
exercise rather than playing time on the cymbal. 

Example A is a two-measure phrase that we will be referring to 
later in this article. 




M 


In previous columns, I have discussed how you should play 
these types of figures with or without a fill on a drum chart. Once 
you feel comfortable with each method, try creating your own 



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NOBLE a COOLEY DRUM CO. 


STRIVING FOR ACOUSTICAL PERFECTION 


solo as you repeat these two bars. Example B indicates how you 
can begin this procedure, rather than just playing time on the 
cymbal. This is a simple solo being played between the figures. As 
always, continue playing your hi-hat on beats 2 and 4. 



This solo is written out entirely on the snare drum and contains 
accent and sticking patterns very common in jazz. Repeat ex¬ 
ample B exactly as it is written until you are comfortable with each 
sticking, and then try improvising your own solo. Example C indi¬ 
cates a similar sticking and accent pattern applied to different 
drums. 


c 

-* 

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r— 


> 3 

rn 


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m 



1 — 



L w L R L R 



Use the patterns in examples B and C to stir your imagination 
and begin the improvising process. Remember that they represent 
only two solo ideas out of countless possibilities and are designed 
to inspire your own creativity. Playing these solos exactly as writ¬ 
ten should be only your first goal. Your main objective should be 
to simultaneously challenge your own creativity and counting 
ability. In these exercises, your ability to improvise a creative solo 
is as important as your ability to play the figures properly. When 
you improvise, be sure to continue counting so that you can con¬ 
sistently set off and play the dotted quarter-note figures accurately. 
Always try to be original with your solos and vary your ideas as 
much as possible. 

Examples D and E offer two more ideas. Begin by playing the 
figures with your right hand, then use your left. 



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MODERN DRUMMER 







































































































































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Once you are comfortable soloing over the two-bar form shown 
in example A, try soloing over the four-bar form of example F. 



The following four-bar exercises are also designed to further 
challenge your counting and soloing abilities. Once you have 
mastered the procedure outlined so far, you may apply the same 
principles to these four-bar exercises in the following ways: first, to 
each measure; second, to a combination of any two consecutive 
measures; third, to a combination of any four consecutive meas¬ 
ures; and fourth, to the whole exercise. 



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You will find that improvising over these longer phrases places 
increased demands on your counting ability. Your goal should be 
to develop your soloing and counting abilities to the extent that it 
becomes easy to read all 20 bars (examples F and C) consecu¬ 
tively. However, do not forget that the exercises I have outlined in 
this article are designed to improve your counting and concentra¬ 
tion while reading a drum chart. When you play a solo or use a 
fill, you must never lose sight of your primary objective: til 




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PRODUCT REFERENCE CHART 
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MODERN DRUMMER 


79 





































































































































by Adam Budofsky 

Vater Percussion 


With all the attention given to electronic 
percussion these days, it's easy to forget 
that, in most cases, the sound of drumming 
still actually starts with the simplest of the 
drummer's tools: the wooden drumstick. 
Vater Percussion hasn't forgotten, though, 
and pride themselves in concentrating their 
energies on taking the best of what nature 
has to offer—mainly in the form of the 
highest quality hickory and maple—and 
making a precision stick. 

Starting in the back room of Jack Adams' 
drumshop in Boston, where a grand total 
of eight pair of drumsticks a day were hand¬ 
made for the store's preferred customers, 
Vater today manufactures more than 3,000 
pair a day, respectably competing in a very 
tight industry. 

Like many companies in the percussion 
industry, Vater is a family business, and is 
in fact the product of the merging of two 
musical merchandizing families: President 
Joan Vater's father was the aforementioned 
Jack Adams, and her husband is Clarence 
Vater, founder of Vater Percussion and for- 



The Vater Staff 


merly of the C. Vater Music Center. Joan 
and Clarence's two sons, Ronnie and Alan, 
then decided to join the company, and 
along with some industrious and inventive 
employees, proceeded to slowly build a 
drumstick manufacturing plant almost from 
scratch. 

"You can't go into any store and buy 
equipment to make drumsticks with," says 
Clarence Vater. "You have to find some¬ 
thing and modify it, or design it yourself." 
Because so many of the machines used in 
the Vater factory are, in fact, the only ones 
of their kind that exist, secrecy is obviously 
of the utmost importance. Alan Vater says 
that nobody outside of the company has 
actually seen the inside of the plant before 
now, and, needless to say, photographs are 
only permitted of those few machines (such 
as the back-knife lathe that first cuts the 
wooden dowels) that weren't designed by 
Vater employees. 


This do-it-yourself philosophy permeates 
almost every aspect of Vater Percussion, 
from the homemade racks where the var¬ 
nished sticks dry, to the moving of the en¬ 
tire company—machines and all—by the 
employees to their new headquarters in 
Holbrook, Massachusetts. A great deal of 
Vater's success can surely be attributed to 
their ideas and persistence, and theirs alone. 
In fact, Vater's sales department, which serv¬ 
ices about 300 private shops and several 
brand name drum companies that market 
Vater sticks as their own, really isn't a sales 
department at all. Calling customers, carry¬ 
ing out correspondence, ordering the wood, 
traveling to trade shows—all this is carried 
out by Alan Vater. A friendly, outspoken, 
truly motivated man, Alan gets visibly ex¬ 
cited when talking about his company and 
about drumsticks in general, and has an 
obvious pride in the family business. "I 
think we've carried it this far on our own," 
he says, "and I think that I have more of a 
vision of what I want and of what my cus¬ 
tomers want than what any marketing per¬ 
son could tell me. Maybe I will develop a 
concept and tell a marketing person what 
to do with it. But a lot of outsiders? No, I 
don't think they understand what we're 
trying to do here. Some people ask me, 
'Why don't you let more of those bad sticks 
through?' And I tell them, 'Get it through 
your head: It's not the money; it's the prod¬ 
uct.' Because you can sell a lot of product, 
but down the road, people can say, 'You 
know, these sticks aren't so good.' First of 
all, we don't want to be the biggest, we 
want to be the best. Second, we want to 
have the best stick at the best price; we sell 
our sticks at over 50 cents less than brand 
names—direct. We don't want to have the 
best stick and have it looked upon as a 
Rolls Royce." 

To Vater, making their sticks "the best" 
means starting with the proper raw materi¬ 
als. Vater was recently picked out of over 
200,000 companies by the Small Business 
Administration as Small Business of the Year 
in Massachusetts. The honor—which in¬ 
cluded several days spent in Washington 
D.C. and a speech by the President—was 
due to the company's excellence in several 
areas, including finding and using the 
proper raw materials. In Vater's case, that 
material is hickory, a subject Alan is eager 
to elaborate on. "Hickory mainly grows 
from Illinois right down the Mississippi 
River. It only grows in North America, and 
our sources are from Tennessee, Arkansas, 
Kentucky, Pennsylvania.... We have to have 
different sources because, as we grow, we 
have to find more wood. That became a 
problem with us; you can find hickory, but 


we only get the real good hickory—the 
best wood. We work really tightly with the 
people who do it for us. 

"We mainly run hickory because, in the 
States, that's what drummers are looking 
for. In Canada, maple is popular because 
that's what is grown there. And in Japan, 
oak is really popular because that's what is 
grown there. We've been successful selling 
other types in these areas, too. 

"I feel that a good piece of hickory doesn't 
have to be compressed. Over the centuries 
they've made striking tools—hammers, axe 
handles. And you say to yourself, 'They've 
got resin, metal compounds, but they're 
still turning out wood handles every day.' 
And that's because the structure of hickory 
is very resilient; it absorbs shock. Oak sticks 
vibrate; that's why we won't use oak." 

According to Alan, a quality stick starts 
with the dowel, the form in which the wood 
comes into the factory. The company spends 
over $150,000 a month on the wood, which 
arrives in weekly shipments. The dowels 
come in different lengths and thicknesses, 
depending on what size stick will be cut 
from them. Vater not only makes sure the 
wood looks good, but also that it is uni¬ 
form in its inherent qualities. "You want 
the color to be consistently white," Alan 
emphasizes. "No two-tone colors. Overall 
appearance, grain structure, weight, 
strength—these are the important factors. 
It's also the way the wood is dried. It's 
going to be more moist on the inside than 



George Morgan overseeing 
back-knife lathe 


on the outside. The ratio of water to wood 
is important. We dry to between 9% and 
11 % moisture content. Anything below that, 
and you're going to ruin the wood; you 
loose the cellulose fiber, which gives 
strength to the wood. The wood is dried in 
one of our facilities down south, and we 
have stern quality control with those people. 
When the wood comes in, we take mois¬ 
ture readings, and if it's not right, we take it 
to a local kiln and have it brought down. 


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MODERN DRUMMER 










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QUESTION: 

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ANSWER; 

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Alan Vater rolling sticks for straightness 


People say, 'Your sticks don't break like 
some of the others,' and it might be the de¬ 
sign, but it's mostly the wood." 

Even though the wood Vater uses is qual¬ 
ity-checked before it's cut, the sticks are 
still checked at every stage of production 
for straightness. On the final cut, every 30th 
stick is measured, and if it doesn't pass a 
tolerance check of 2/1000', the machine is 
shut off and adjusted. 


Alan goes on to explain how there 
is controversy among drumstick mak¬ 
ers as to just what characteristics are 
most important in a drumstick. "Some 
people say you should pitch-pair. We 
feel differently. First of all, any drum¬ 
mer that I know is looking for sticks 
that are the same weight. When you 
break a stick during a gig and you 
reach down to pick up another one, 
you want that baby to be consistent 
with the one you just broke. If you're 
a snare drummer in a symphony, then 
you're looking for pitch. But if you're 
a rock 'n' roll drummer, you're look¬ 
ing for weight. A rock 'n' roll drum¬ 
mer is riding a cymbal and hitting a 
snare drum. What does pitch have 
to do with anything? Response is im¬ 
portant, too. Some sticks have a rub¬ 
bery response; we chuck those out." 

Another area that Alan Vater has 
strong opinions about is colored 
drumsticks and other such novelties. 
"Illuminated sticks are just fads; they 
have a product life. As far as syn¬ 
thetics are concerned, I think they have a 
place in the market, but I don't think they 
have a dominant place. Drummers are 
always going to come back to good old 
natural sticks. The natural resonance, the 
tone that wood gives you as opposed to, 
say, graphite—you don't get the same tonal 
quality, the same feel. 

"People used to paint sticks, and it was a 
detriment to the product in general. The 


product chipped, you'd sweat and have 
blue all over you. So there was a reason 
not to like it. But then the way we made it, 
using a porcelain finish, there was no rea¬ 
son not to like it. About 25% of our sticks 
sold are colored. We chose to make stained 
sticks in black and red; one is very bright, 
and one very dark. We try to get away from 
a really high-gloss finish. It feels like you 
have a piece of wood in your hand, not a 
candle." 

In addition to drumsticks, Vater also 
makes wooden timpani mallets, which 
employ a mechanically and chemically 
bonded cap that allows the head to rotate. 
The company also has plans to manufac¬ 
ture wood and poly bass drum beaters, 
which would require the design and build¬ 
ing of new machinery. As stated earlier, 
this wouldn't be the first time the company 
would have to build its own machines; 
some of the others that were created when 
the need arose are a sanding machine, one 
that knocks nylon tips onto sticks, and the 
stamping machine that every private-label 
stick goes through. 

It seems the kind of self-reliance needed 
in a company like Vater has resulted in a 
closer employee/manager relationship than 
may be apparent in other companies, and 
Clarence Vater is quick to give the 
company's crew due credit for their suc¬ 
cess: "If we didn't have the help we have 
today, there is no way we would have pro¬ 
gressed." Alan Vater amplifies his father's 
thoughts: "It's not like one decision is made 


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MODERN DRUMMER 















here; everyone is working together. There 
have been meetings where we have called 
the whole shop in. When we make really 
heavy decisions, we want everyone in¬ 
volved. It's not like a big company. Some 
of these guys are friends that I grew up 
with. It's a tight-knit group, and everyone 
understands what has to be done." 

The amount of success that Vater has 
achieved in the industry is a bit surprising, 
considering that the company has never 
once advertised. Rather than attempting 
some sort of media blitz, Vater has inched 
its way through the back door, concentrat¬ 
ing on elevating the quality of private label 
sticks, and spreading their reputation 
throughout the nation's drumshops. "A pri¬ 
vate-label drumstick was usually just a 
bucket of sticks with the store's name on 
it," says Alan. "It didn't have the quality of 
a name-brand stick. But we've taken that 
aspect and concentrated on it, giving it a 
top priority." 

Vater found that the private stores appre¬ 
ciated their line of thought, using Vater 
sticks with their own names stamped on 
them as a way to advertise their shops. And 
it has been this kind of personal attention 
to the small-time dealer that has carried 
the company thus far. "Our customers' 
competitors will call me up, wanting our 
sticks, and I won't give them to them, be¬ 
cause we give regional exclusives. If you 
are Columbus Percussion Center, who are 
a good customer of ours, and somebody 
else off the street wants them—sorry, we 


can't do it. And they come to you and go, 'I 
have six stores.' Tm sorry, I can't do it for 
you.' And you want to do it, but you can't, 
because that loyalty is what carries you. 
Then again, it's not the bottom line; it's 
doing the best job you can for someone 
who is supporting you. 

"Word of mouth has carried us through. 
We wanted to put the product ahead of the 
name, and we don't have what they call 
"bottom-line thinking." There's no percent¬ 
age that we're looking for. What we get out 
of the run—what we feel is a perfect stick— 
is what we get out of it. We don't say, 'Oh, 
no. We've got 40% loss on this run.' We 
say, 'Hey, they're all good sticks; people 
are going to come back and buy them 
again.' That's an attitude that I think is gone 
now. The money will come." 

Though Vater's ethics may seem decid¬ 
edly populist, this doesn't quite mean that 
they're resigned to be somehow left be¬ 
hind the larger drumstick manufacturers in 
terms of having their piece of the pie. The 
sticks the company cuts for name brands 
provide a good portion of Vater's income. 
These companies will submit drawings and 
specs for their own sticks, and will actually 
buy the knives used to cut those sticks. 
"Those specs stay in this shop," explains 
Clarence. "The only way they'll go any¬ 
where is if we have written authorization 
on a second-quality stick, which we have 
the option of selling." 

Besides doing business with the bigger 
companies, Alan sees no reason the com¬ 


pany shouldn't be in their shoes, and is 
ready to take a cue from some of the ones 
he feels have done things right. He particu¬ 
larly looks up to the Calato company as 
one to emulate. "The best thing for this 
company would be to look like a Regal 
Tip. I really look up to them. They've done 
so much. Their dad invented the nylon tip, 
and he shed blood, sweat, and tears his 30- 
year career just making drumsticks. Now 
they're wholesaling and have operations 
all over. The ultimate thing would be for 
people to recognize Vater drumsticks as 
being the best, and for us to be able to 
support it and expand into different lines. 
We're thinking now about making wood 
products like toys—something high-qual¬ 
ity. Because, this building here is a tempo¬ 
rary resting place for this company. 

"Our biggest challenge is coming out 
with our own line of drumsticks—to have 
the Vater name mean something to the 
drummer. It's marketing, and that's too bad. 
We have a good stick and a good name, 
but no one knows how to identify our stick, 
because we don't have our name on it. We 
haven't even concentrated on getting our 
name out. This is our first interview, our 
first touch with anything. The stick has taken 
us this far. Now, if we start to advertise and 
market behind that, look out. I believe that 
if something is good and worth the money, 
it's going to go. We're ready to reach out 



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MODERN DRUMMER 


33 

















Transcribed by James Morton 

Leroy Clouden: 

"Century's End" 

This month's Rock Charts features "Century's End," Donald Fagen's hit from the soundtrack of the movie Bright Lights, 
Big City (Warner Bros. 4-27972). Drummer Leroy Clouden plays a crisp, tight funk-shuffle against Fagen's sequencers 
and programs, for a hip, contemporary feel. This is an excellent example for playing this type of feel. 


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The legendary Dregs 
reunited this spring to 
record a CD single and 
for a brief tour. 

Rod usually plays 
Premier Resonator drums, 
but wanted to try a new sound 
for the Dregs project. He 
chose a prototype set of 
Premier’s new APK drums. 

The new APK drums were 
designed for high-volume 
music and feature heavy-duty 
construction and hardware. 
And here’s your chance to own 
Rod’s very own prototype set. 
All it takes is the correct 
answer to this month's Drum 
Trivia questions—and a posh 
card! 



Rod’s Premier APK set includes: 

2 - 22 x 16 Bass Drums 

It also includes a full set of 

1 -14 x 6 V 2 Snare Drum 

Premier’s new 3000 Series 

1 - 10 x 9 Tom 

hardware, two 254 bass 

1 - 12 x 11 Tom 

pedals, hi-hat, snare stand. 

1 -14 x 13 Tom 

two boom stands, and 

1 - 16 x 16 Floor Tom 

1 - 18 x 16 Floor Tom 

straight stand. 


HOW DOES IT WORK? 


Very simple. If you know the answers to our trivia ques¬ 
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first entry with the right answers to be drawn at random, 
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Mail your entries to: 

MD Trivia, 870 Pompton Ave., Cedar Grove, NJ 07009 


CONTEST RULES 

1) Submit postcards only; be sure to include your name, 
address, and telephone number. 

2) Your entry must be postmarked by Jan. 1, 1989. 

3) You may enter as many times as you wish. Ail entries 
must be mailed individually. 

4) Winners will be notified by telephone. Prizes will be 
shipped promptly, direct from the manufacturer. 

5) Previous Modern Drummer contest winners are ineli¬ 
gible. 

6) Employees of Modem Drummer and employees of the 
manufacturer of this month's prize are ineligible, 


^0 Just answer the following 
questions. One winner wiil be cho¬ 
sen from among the correct entries. 
Send your answers to Modern 
Drummer by January 1,1989. 


QUESTIONS 


1. Rod met the other mem¬ 
bers of the Dregs at what 
university? 

2. What category in the 
Modern Drummer Pol) did 
Rod win this year? 

3. Where are Premier 
drums manufactured? 

















Yamaha Po 


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W ■ YAMAHA 


Enter yet another series of Yamaha drums: 
the Power V. Yamaha has developed this 
line with the idea of combining pro quality 
and affordability. The Power V kit is manu¬ 
factured in England, not Japan, and I read 
this as the first endeavor by Yamaha to take 
advantage of their acquisition of Premier. 

The Power V shells are 9-ply Philippine 
mahogany, with their interiors painted 
black. The snare drum has a steel shell. 
The drums have a different lug design from 
the rest of the Yamaha family: They're more 
squared-off, and have a slight taper down. 
Components of the Yamaha Power V kit 
are 16x22 bass drum, 10 x 12 and 11 x 13 
tom-toms, 16x1 6 floor tom, and 61/2 x 14 
snare drum. 

Bass Drum 

The 16 x 22 bass drum has 16 lugs with 
T-handle tuners. The bottom two rods on 
each side of the drum have square-headed 
screws—an increasingly popular feature 
nowadays. Black painted wooden hoops 
are fitted to the drum, and they are inlayed 
with plastic, matching the drum's finish. 
(The hoops, by the way, have squared-off 
edges.) Yamaha has glued a piece of ribbed 
rubber onto the bottom of the batter hoop 
for easier pedal attachment and stability 


without marring the hoop's 
finish. 

The Power Vs spurs are 
externally mounted, and 
have a large wing bolt ad¬ 
justment. They fold flush 
for packing, and allow a 
few different forward setup 
angles, depending upon 
where you place the leg in 
relation to its plate. Each 
spur tube is cut away in 
back, exposing an inner 
telescopic leg. A square¬ 
headed screw is used to 
release and lock the inner 
leg. (I'd prefer a wing screw 
here.) The spurs have spike 
tips, surrounded by rubber, 
and hold the bass drum in 
place just fine. (Yamaha 
has taken the opportunity 
to plaster its logo on the 
spur legs. This may be 
good for promotion, but is 
nonetheless gaudy.) 

The drum came fitted 
with a clear Yamaha batter 
(made at the Premier fac¬ 
tory?) and a black front 
head with a pre-cut 9 1/2" 
hole. Yamaha did away 
with the normal felt muf¬ 
fler strip usually included with bass drums, 
and instead thoughtfully included a Remo 
Muff I (which I just happen to love!) The 
Muff' I helps to give a solid, tight sound to 
the bass drum. The drum is quite punchy, 
especially when played with a wood beater. 
It has great tonal depth, and produces ample 
volume. 

Mounting System 

A new tom-tom holder has been devel¬ 
oped for the Power V kit, based on the 
tried-and-true Yamaha swivel-ball system. 
A large receiver block is mounted atop the 
bass drum, and accepts a single down tube. 
The down tube is held in the receiver by a 
wing screw, clamping an inner nylon piece. 
The tube is fitted with a memory ring, and 
the entry hole on the receiver is multi- 
slotted to make it convenient for place¬ 
ment of the square screw on the memory 
ring. On this particular holder, the down 
tube fit very tightly inside the receiver, re¬ 
quiring some additional force to insert or 
remove it. 

Atop the tube is a large, rubber-bumpered 
chrome block that has two holes (also multi- 
slotted) to accept the individual tom arms. 
The arms have memory rings, and are wing- 
bolt clamped. Each tom arm utilizes a 


swivel ball, almost totally enclosed within 
a chromed casing. Adjustment/locking is 
via a wing screw on top of the ball casing. 
This method is identical to other Yamaha 
holders, and affords a wide range of angle 
adjustment. Past the ball joint, the arms are 
hexagonal steel, to mate with the hex re¬ 
ceivers on the tom-tom shells. The hexago¬ 
nal design resists any twisting or turning of 
the drums. All in all, it's a relatively sturdy 
holder, and I was able to obtain the angles 
and heights I needed. I did find, though, 
that at acute angles the right tom could 
foul the arm holder block. 

Tom-Toms 

The 10 x 12 and 11 x 13 toms have 12 
lugs each; the 16 x 16 floor tom has 16 
lugs. There are no internal mufflers, and 
the drums have one venthole each. (The 
rack toms are vented near their holder re¬ 
ceivers.) The floor tom has three legs, 
knurled at their tops, that fit into wing-bolt 
brackets. All the toms are fitted with 
Yamaha's made-in-England clear heads, top 
and bottom. 

The 12" and 13" toms required some 
dampening when I tested them in live play¬ 
ing, but the floor tom really didn't need 
any modification. The toms do not "boom"; 
instead, with just a little muffling (tape or a 
Zero Ring), they have a nice punch. All the 
toms possess good attack and volume at all 
pitches. The floor tom is amazingly deep¬ 
sounding in itself; in fact it's one of the 
loudest I've played. (Maybe the "V" in 
Power \/stands for volume?) 

Snare Drum 

A 6 1/2 x 14 steel-shell snare completes 
the five-piece Power V kit. It has eight 
double-ended lugs, a single venthole, and 
uses a simple side-throw strainer. (The 
throw-offside has a fine-tension adjustment 
knob.) The drum has 20-strand wire snares, 
held by black fiber strapping. There's one 
really great feature on this drum I like— 
minor, but worthy of mention: Square¬ 
headed, drum key-operated screws are used 
to clamp the throw-off and butt plates where 
the snare connector strips pass through, in¬ 
stead of regular slotted screws. It's a lot 
easier to adjust the snares with a drumkey 
than with a small straight-edged screw¬ 
driver. Give the designer a raise! 

Snare gates are made in the bottom hoop 
by cutting away the hoop entirely at those 
points, which allows the snares to drop 
fully when released. A good idea, but it 
could make the strapping, the bottom head, 
or even the hoop itself prone to possible 
damage by accident. 

This snare has a mirror chrome finish, 


90 


MODERN DRUMMER 






by Bob Saydlowski, Jr. 


wer V Drumkit 


which is a simply great plating job. (The 
Premier process?) The drum came fitted 
with a Yamaha TS white coated batter, and 
a transparent Yamaha snare side head. There 
is no internal damper, so instead, Yamaha 
includes a plastic ring to lay over the batter 
head, covering the outer 1 1/2" perimeter of 
the head and reducing overring. (It's a bit 
heavier and thicker than Noble & Cooley's 
Zero Ring.) This works so well in control¬ 
ling overtones, I wonder why Yamaha 
doesn't include sizes for the three toms, as 
well. 

Yamaha's coated head is not as respon¬ 
sive to brushwork as a Remo coated is, so 
the country and jazz players who use the 
drum may want to change the batter to a 
rougher textured one. I had a slight prob¬ 
lem with constant snare rattle on this drum 
during soft playing; the snares were either 
slipping, or were bent. However, in loud 
playing, the rattle disappeared, and with 
the plastic overlay ring, the drum's sound 
tightened up to produce a really great snare 
sound. This drum is not particularly sensi¬ 
tive, but responds well to loud playing, 
without choking. Latin-type rim clicks were 
not as loud as on other snares I've played, 
and regular rimshots sounded a bit thin. 
The drum does possess good volume and 
crispness, and overall, I really did like its 
sound. 


Hardware 

The Power V hardware has labels read¬ 
ing "Made In England," so once again 
there's evidence of the Premier connec¬ 
tion. All the stands have large, grooved 
rubber feet (which, too, have the Yamaha 
logo), and all height adjustment points 
contain black nylon bushings for non-slip- 
page. 

One CS720P cymbal stand is included 
with the kit. (Yamaha's ad for the kit dis¬ 
plays two.) It has a single-braced tripod 
base, and two adjustable height tiers. A 
ratchet tilter is used for setting cymbal angle. 
It's just your basic, normal stand, and it's 
sturdy enough to hold most any cymbal. 
(Maybe it's so good that someone stole the 
second one?) 

The SS720P snare stand also has a single- 
braced base, and uses a basket design to 
hold the snare drum. A threaded T-screw 
adjuster at the bottom closes the basket, 
and the stand tilts on a flat steel hinge. 

The HS820 hi-hat stand and FP725 bass 
drum pedal both have two-piece alumi¬ 
num footboards with large ribs in their upper 
halves for a more positive "foot grip." The 
hi-hat is single-braced at its base, and has 
two knob spurs set into its frame. It works 
on the direct-pull method, and uses a fat 




chain linkage. A large hose clamp serves as 
a memory ring for the height tube. Tension 
adjustment of the enclosed spring is done 
via a large plastic wheel, set horizontally 
into the spring housing. The actual degree 
of adjustment is visible through a slot in 
the housing, which is gauged to show 
"heavy" to "light" action settings. In what 
was perhaps an oversight, there was no 
metal or fiber washer for the bottom cym¬ 
bal cup—the tilter screw directly contacted 
the felt washer, squashing it. The stand has 
smooth, quiet action. It may be a bit too 
springy for some, but in general, it works 
fine, and changing spring tension is easy 
and convenient. 

The bass drum pedal is of a simple de¬ 
sign, using a single expansion spring 
stretched downward. A knurled knob at 
the frame's bottom right adjusts the tension 
of the spring holder. There are no spurs on 
the pedal, nor is there a toe stop. The pedal's 
axle is hex steel, onto which the linkage 
cam and beater housing are mounted (and 
locked with Allen screws). A flexible strap 
is used for the linkage, and the pedal mounts 
to the drum with the common plate clamp/ 
wing screw method. A square-headed screw 
holds the felt beater in its housing; once 
again, I'd like to see a wing screw instead, 
just for convenience. 

This pedal is lightweight, and has good 
action. It felt a little small under my foot, 
but not so that it was ever out of control. 
The pedal has a natural-feeling swing, and 


responds well, whether playing heel- 
down, or toe-only. 

Cosmetics 

The Power V kit I tested was fin¬ 
ished in Italian Red plastic covering. 
(Other colors available include black, 
white, and chrome.) I detected a few 
bumps on the bass drum's covering, 
but overall, the finishing was okay, and 
all seams are hidden from the audi¬ 
ence view. Each drum in the kit has a 
newly designed square gold logo 
badge, screened with black graphics. 
(There are no serial numbers im¬ 
printed.) 

The kit is easy to set up and tear 
down, the hardware is all good (if not 
great) quality (especially the tom 
holder), and the drums have good to¬ 
nal characteristics and volume. So I 
guess Yamaha has accomplished what 
they set out to do. In my opinion, the 
Power V leans more towards the Tour 
Series in quality than the cheaper Stage 
Series line, and I consider it to be worth 
every penny of the $1,195 sug- 
gested retail price. mp 


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91 


MODERN DRUMMER 













by Steve La Cerra 

Recording Your Drum Machine 


Recording studio time is an expensive 
commodity, and since the majority of us 
have limited resources, that time should be 
used as efficiently as possible. A live band 
going into the studio must rehearse before 
recording rhythm tracks. Similarly, in the 
interest of saving time, drum programs are 
best written before going into the studio. 
Then, since you can bring your drum ma¬ 
chine to the studio, recording can be as 
easy as getting the sound and pressing 
"record." 

The purpose of this article is to assist 
drummers in getting the sound they want 
out of drum machines and samplers. We 
will assume that the programming has al¬ 
ready been worked out. 

The major decision to be made is whether 
or not to record processed sounds. Often, a 
group will record sounds directly off the 
sampler without adding further reverb or 
equalization. This method can be useful 
when the overall ambience of the song has 
not yet been determined. Once all the other 
instruments and vocals have been recorded, 
drum sound processing can be done in the 
mix. 

Assuming that you're working with a 
limited budget (a reasonable assumption), 
you are probably in a studio with a limited 
number of outboard processors. Addition¬ 
ally, the band may own an extra digital 
reverb or delay. The point is that in the 
mixing process, it is desirable to have as 
many signal processors as possible avail¬ 
able for the vocals, keyboards, guitars, etc. 
Sound quality will suffer when one reverb 
is used for a multitude of tracks. The prob¬ 
lem becomes clear when you realize that 


three or more separate reverb units may be 
needed for the drums alone. 

Therefore, it is advantageous to record 
the drum sounds as close as possible to 
what you want in the final product, includ¬ 
ing equalization, reverb(s), compression, or 
any other effects. If you are not sure about 
the reverb, print (record) a modest amount 
now and add more later. 

Determine next how many tracks are 
available for the drums. The minimum for 
a stereo spread is two tracks. In this case, 
you practically must get the reverb sounds 
on tape; adding reverb later will allow you 
only to add reverb to the entire drumset, 
which is not always desirable. Two tracks 
are fine when using an eight-track format, 
leaving six tracks for the band. 

If the drum machine has only two out¬ 
puts, you may run into trouble at this point. 
There are basically two or three options in 
solving this problem. If the drum machine 
allows it, pan the snare drum and toms to 
one side and the kick drum and cymbals to 
the other. This lets you add reverb to the 
snare and toms without putting it on the 
kick and cymbals (which are frequently left 
dry). These sounds are then recorded on 
two different tracks. The disadvantage here 
is that when mixing, both of these tracks 
are likely to be placed in the center of the 
mix (kick and snare are most often panned 
to the center of the left-to-right "stage"), 
leaving your drums in mono. You must 
decide which is more important. 

A second option is to take the two stereo 
outputs of the drum machine and go 
through two identical 10- or 15-band 
graphic EQ units (for the most flexible tone 


control), and then add one reverb to the 
whole set. If so, go for an ambient reverb 
sound (i.e., one that simulates a small room) 
as opposed to that "Lincoln Tunnel" sound, 
which is great on the toms but will mess up 
the definition of the kick drum and cym¬ 
bals. Another option is syncing the drums 
to tape, but that really is a subject for an¬ 
other discussion. 

When dealing with 16 tracks or more, I 
strongly suggest printing the processed 
sounds. If you are limited to four of the 16 
tracks, print the kick and snare each on its 
own tracks and a stereo mix of the toms 
and cymbals on the last two tracks. Be sure 
the volume relationship of the toms and 
cymbals is correct because you will not be 
able to change it later on. 

If possible, use at least six tracks for the 
drums: kick, snare, toms right, toms left, 
cymbals right, and cymbals left. If it is a 
three- or four-piece band, convince them 
to give you a seventh track for the hi-hat, 
and you'll be in great shape. All these tracks 
allow you more depth, separation, and 
control in the final mix. 

If the drums stop playing at some point 
in the song, be sure to print a temporary 
quarter-note click track so that the band 
can still keep time. When all of the instru¬ 
ments are down, it can then be erased. 

With 24 tracks, you can definitely put 
the hi-hat and even each tom on its own 
track (depending on how many instruments 
are to be overdubbed). If you have more 
than 24 tracks, use your imagination. 

Now you are ready to have the engineer 
connect everything. If the sampler or drum 
machine is somewhat noisy, patch a noise 


Our sticks come in three different 


All of them. All have the same, consistent quality and precision craftsman¬ 
ship. All are shaped from the finest 100% American hickory, and guaranteed 
100% straight. 

Moreover, all Zildjian drumsticks are meticulously matched for color, 
weight, heft, and balance, So whenever Rikki Rockett needs a new 2B, it 



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gate right off the output of the machine to 
eliminate noise when there is no signal, as 
well as leakage from the other outputs. Next 
should come the equalization. In most 
cases, that will be the EQ on the recording 
console, but for kick and snare drums, you 
may want to use a 10- or 15-band graphic 
unit. Use the graphic EQ to change the 
character of the kick and snare drums so 
that they do not sound like the kick and 
snare everyone else gets from the same 
drum machine. 

For toms and cymbals, the board EQ 
should do nicely. Don't be afraid to add 
high end to the cymbals and attack to the 
toms. When recording on analog tape, the 
tape may lose some of these frequencies. If 
your crash cymbal decay is too short, send 
it through a digital reverb with a long de¬ 
cay and adjust the wet-to-dry mix control 
so that you cannot tell where the reverb 
decay picks up from the end of the cymbal 
sound. This trick keeps the cymbal from 
stopping in mid-decay and sounds more 
convincing. 

Dedicate one reverb to the snare drum 
alone. For more traditional sounds, have 
the engineer place the reverb after the EQ. 
If you want to go for some really wild 
sounds, have the engineer patch the reverb 
before the EQ. Then connect another gate 
after the reverb/EQ combination and go to 
the tape machine. If at mix time you find 
the snare drum reverb too long, gate it 
again and shorten the gate to cut off some 
of the decay. 

If the toms are to be printed in stereo, 
you can use one reverb for all of the toms 
and pan them left to right (or vice versa). If 
you are putting one tom on a track, you 
can dedicate one reverb to each tom, in 
line after the EQ. This sounds best if you 
have multiples of the same reverb unit on 
the same setting (i.e. four Lexicon PCM- 
6ffs set at the same program), and enhances 
the sense of depth given to the drumkit. If 
you are running low on gates, place the 


gates after the reverb only (as opposed to 
after the output of the machine and after 
the reverb). For two stereo tom tracks, gate 
each side and go to the tape machine. 

Fora dynamic-sounding hi-hat, you can 
program a quarter note and send it through 
a digital delay adjusted to get 8th or 16th 
notes. The sound on the beat will be the 
actual sample and the other notes will de¬ 
cay as per your setting on the delay unit. 


As with cymbals, do not be afraid to crank 
up the high end—especially if the drum 
machine is an older unit without today's 
state-of-the-art frequency responses. 

If you are reverb-shy, you can go for a 
room ambience type of sound instead of a 
cavernous reverb sound. Just add enough 
reverb to make the drums sound like they 
are being played in a medium-sized room, 
not from a little black box. SB 



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colors. And theyte all the same. 

The finish is uniquely and evenly applied—to give you the feel of the wood, not 
the varnish. It penetrates deeply to keep the sticks stronger, longer. < 

Pick up any other drumsticks, then pick up a couple - ^ f JV f f 

of ours. You'll notice something right awav: 

What makes Zildjian sticks so much the same _/ 

is the very thing that makes them different. We take sticks as seriously as we take cymbals. 















_ by Craig Krampf 

Session Rehearsals 


The sounds are up on the console, and the 
headphones have been roughed in. The 
artist, musicians, producer, and engineer 
are set to go, and the tape begins to roll. 
One...two...thr —Wait a minute! What are 
we going to cut? What song are we going 
to try to record today, and how do we learn 
this important piece of music? 

Sessions fall into two basic categories: 
rehearsed, where the music has previously 
been worked on during separate rehearsal 
sessions, and unrehearsed, where you'll be 
creating on the spot. With either type, the 
musicians will learn the song via a chord 
chart, a main rhythm chart, a real specific 
drum chart, or, many times, by the "write 
your own chart" method. Also, all of the 
above methods may rely on the use of a 
demo tape. Let's first examine the proce¬ 
dure for a rehearsed session, and look at 
the types of learning methods utilized. 

Many producers like to preceed the ac¬ 
tual recording session with rehearsals. All 
the sessions I did for producer Val Garay 
over the past seven years were prepared 
for in this fashion. If it was an entire album 
project, we'd spend a week rehearsing the 
first half of the album, and after that was in 



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the can, we'd go back to the rehearsal hall 
and learn the remaining songs. In some in¬ 
stances, this back-and-forth procedure went 
on for many months. Oftentimes, a song 
just didn't cut it. Maybe the arrangement 
wasn't right, or perhaps we'd record a lot 
more songs before the final ten were cho¬ 
sen forthe album. 

This pre-production preparation can be 
really beneficial in getting the most out of a 
song. Plus, less experienced artists and play¬ 
ers can search out parts and experiment 
without worrying about that expensive stu¬ 
dio clock that's always running. It's a lot 
better spending $15 or $20 an hour for 
rehearsal space than $185 or more an hour 
in the studio. 

At these rehearsals, the artist will either 
sing or play the song for us, or he'll play us 
the demo. Usually the keyboard player will 
write up a chord chart. After the chart has 
been copied, everyone likes to hear the 
song again so that they can make their own 
notations. If the artist plays us the song on 
guitar or keyboard, the parts are naturally 
more open to interpretation. However, the 
artist may have something very specific in 
mind. He or she will generally convey this 
to us in terms that can range from the very 
vague ("It's kind of an East Indian thing 
played by a Toledo blues band"), to the 
most exacting ("Play everything just like 
Springsteen's 'I'm On Fire'"). 

I'll usually try to get a tempo reading, 
either with a stopwatch (timing every two 
bars) or with a drum machine. It's good to 
start out trying to duplicate the speed at 
which the artist feels the song naturally. 
Everybody will try to do their best during 
the first few run-throughs. But usually these 
first attempts are quite cosmic sounding, as 
people search out parts. What Neil Peart 
said regarding the two approaches in his 
article "Creating The Drum Part" (August 
'88 MD) is quite true. Neil said, "Some 
people start as simply as possible. Then, if 
they feel compelled to add to that mini¬ 
malist approach, they will. Other people 
start the opposite way, trying everything 
they can possibly think of in the first few 
run-throughs, and then gradually eliminat¬ 
ing ideas that don't work." 

I think every musician utilizes both of 
these methods, depending on the song, the 
artist, producer, fellow musicians, and his 
or her own creative mood on that particu¬ 
lar day. I've scared people doing it both 
ways. I've also found that if I try the second 
method, in an effort to stir my creative 
juices, it's better to warn people ahead of 
time. Once again, open communication 
always works best. 

If everyone is in love with the demo, 
sometimes this will mean transcribing the 


demo just about note-for-note. Some de¬ 
mos are very well done, and often we stu¬ 
dio players feel like we're in a Top-40 band 
learning a new song. I can't tell you how 
often a producer or artist will say, "It's just 
not quite right yet; let's listen to the demo 
again." 

Sometimes a direct order to "cop the 
demo" is given. We then know we're going 
to be playing that world-famous recording 
game called "Beat The Demo!" This often 
leads to a song being programmed. Most 
demos nowadays are cut with drum ma¬ 
chines. If we get the order to "cop the 
demo," it's usually because the artist or 
producer loves the machine aspect of it. 
This is a whole separate topic that I'll cover 
in another article. 

Forthe Melissa Etheridge album, Melissa, 
bassist Kevin McCormick and I rehearsed 
casually for a month. We'd get together 
two or three times a week to work up the 
songs. I should say "re-work" the songs; 
the first version of the album, which we 
had also played on, was scrapped because 
the president of the record company felt 
that the real essence of this woman and her 
music was lost. He put it in our hands to 
get it back. 

We stripped down the songs to just voice 
and guitar, and we rethought and re-learned 
them. When the record company exec fi¬ 
nally heard what we did, he told us we 
were now the producers. It was our job to 
go in and capture on tape what he had just 
heard. We basically cut the album live, 
including live vocals. Only a few overdubs 
were added. The whole album was on tape 
in nine days! The point is, it would have 
been impossible to accomplish this without 
rehearsing. I should also mention that we 
didn't write up charts for this project. I 
made up a little road map for myself for a 
few songs, listing the order of things, the 
number of bars, and any unusual figures, 
but that was it. 

Some people contend that rehearsing can 
take away the spontaneity of a session and 
sterilize the final product. This can be true— 
if you rehearse to the point of boredom. 
But any professional should be able to get 
up and perform well when that red light 
goes on. Not everything that winds up on 
tape always sounds like it did at rehearsal. 
Once under the studio microscope, certain 
things may not work: Parts change, grooves 
and tempos change. But in general, these 
changes always lead to a better final prod¬ 
uct. Rehearsals are just another good way 
of fine-tuning the whole recording process. 

Next month we'll look at the unrehearsed 
session, and the challenges of creating on 
the spot. 



94 


MODERN DRUMMER 













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You Can Make Musk 



by Rick Mattingly 


MacDrums 



We've heard over and over that drum ma¬ 
chines are really just computers, so if that's 
the case, it shouldn't be hard to use a com¬ 
puter as a drum machine. That's what Coda 
Software's MacDrums program lets you do 
with your Macintosh. 

The MacDrums package is actually di¬ 
vided into two parts: MacDrums and 
MacDrums MIDI. The first one lets you use 
the Macintosh itself as a drum machine. 
The second lets you use the Macintosh as a 
controller for a separate drum machine. 
Let's look at each one individually. 

MacDrums 

This is a pretty basic drum machine pack¬ 
age, but it is easy to use and could be quite 
adequate for a lot of people's needs. The 
program contains 35 digitally sampled 
drumset and percussion sounds, and lets 
you record patterns and songs. 

Putting a pattern into the program is very 
easy. You are given a grid that has 16 rows 
of 16 blocks. Each row represents a differ¬ 
ent instrument, and each block represents 
a 16th note. You program a note by simply 
clicking the mouse arrow over a block. 
Visually, you will see a black dot appear in 
the box. To remove the note, click over the 
box again. When programmed into 
MacDrums, the following rhythm 


0 

n 

o 

n , 

0 

o 

n 



Jr- 4 - 

' i 

r 

r 

r= 

f 


would look like what is programmed into 


the sample screen shown above. 

The basic MacDrums program will only 
let you play four notes simultaneously. For 
that reason, the grid is divided into four 
groups. Within each group, only one note 
can be played at one time. For example, in 
the sample screen, you could not play the 
crash cymbal and the ride cymbal at the 
same time. (If you really had to play both 
of them together, though, you could move 
one of them to another group. The main 
point to remember is that you can only 
have one sound from each group, giving 
you a total of four.) 

You can program up to 64 measures in a 
single memory location. This is accom¬ 
plished by having 16 measures in each of 
four groups, labeled A, B, C, and D. (In the 
screen example, we are in group A, shown 
by the dot in the box marked A in the 
lower left corner of the screen. We are on 
the first measure of group A, indicated by 
the dot in the first box in the Beat/Measure 
row under the grid.) 

Once your measures are recorded, you 
can set the volume and tempo. The vol¬ 
ume has eight settings, and covers a pretty 
good range from soft to loud. The tempo, 
however, doesn't have as much flexibility 
as one might expect. The lowest setting I 
could get was quarter note = 001, which 
was very slow. I could get every number 
from 002-034, and from there, the sequence 
was like this: 036, 037, 039, 040, 042, 
045, 047, 050, 052, 056, 060, 064, 069, 
075, 081, 090, 100, 112, 128, 150, 180, 
225, 300, 450, 900. There are a lot of 
tempos between, say, 80 and 180 that 


would have been more useful than the slow¬ 
est and fastest ones provided. The lack of 
more tempos is possibly the biggest flaw 
with this program. 

The next thing you can do is link pat¬ 
terns together into songs, or "tracks." The 
capacity for a single track is pretty good: 
from 2 to 999 measures. When you are in 
the record mode, the tempo indicator 
changes into a measure counter, which is 
useful for letting you know where you are 
at any given time. 

One limitation of the track recording is 
that you can only add or delete measures 
from the end. In other words, suppose after 
programming 12 measures, you decide that 
you want to remove measure 6. You can¬ 
not simply call up measure six and delete 
it. Instead, you first have to delete meas¬ 
ures 12,11,10, 9, 8, and 7. The good news 
is that you are not removing the patterns 
themselves from memory; you are only 
removing them from the "list" of pattern 
numbers that the program reads when play¬ 
ing a track. And the process is pretty fast, 
so as long as you don't have to delete too 
many measures, it won't take too long to 
put them back. There are also "cut," "copy," 
and "paste" commands that can save time. 

So far, it might appear that you can only 
program a 4/4 measure with 16th notes. 
Not true. There is an arrow underneath the 
grid that marks the stopping point of the 
pattern. In the screen example, that arrow 
is underneath the last box, meaning that 
the program will play through all 16 boxes. 
However, that arrow can be moved for¬ 
ward, and the program will not play any¬ 
thing that is behind it. 

That gives you a certain amount of flexi¬ 
bility. If you want 3/4 time, just move the 
arrow up four boxes. If you wanted 5/8, 
you could put the arrow under the tenth 
box to get 16th notes, or under the fifth box 
to get only 8ths. There are limitations, 
however. You could not have a 5/4 meas¬ 
ure with 16th notes. The best you could do 
with 5/4 is put the arrow under the tenth 
box and think of each box as an 8th note. 
The other major limitation is that you can¬ 
not mix meters within a track. If you set 
one of your measures to, say, 3/4, then all 
of the measures in the track will be played 
in 3/4. Even if you have other notes pro¬ 
grammed, MacDrums will ignore them. 

The final thing to talk about is the instru¬ 
ment selection. You can have up to 16 
instruments in a single setup, and you have 
a total of 35 to choose from. The program 
came with three different setups that could 
be used, but it is easy to mix and match 
instruments to come up with any setup you 
desire. 


96 


MODERN DRUMMER 
















































































The sounds themselves are pretty good. 
Of course, if you are only going to use the 
speaker that is inside the Mac, it's going to 
sound like a cheap transistor radio at best. 
But by connecting the Mac's headphone 
jack to an amplifier or stereo system, you 
can blast out the MacDrums sounds at 
whatever volume you wish. 

MacDrumsMIDI 

This program lets you use your Macin¬ 
tosh as a controller for a MIDI drum ma¬ 
chine (you'll need a MIDI interface for your 
Mac). For the most part, everything works 
the same way in terms of pattern writing 
and track recording. But there are a couple 
of differences worth noting. 

The first difference has to do with the 
instrument selection. With the basic 
MacDrums, you have 35 instruments to 
choose from. With MacDrums MIDI, you 
can access any sound on your MIDI drum 
machine. When you first take the program 
out of the box, there is a sample list of 
instruments, whose MIDI note numbers 
corresponded to the Yamaha RX5 that I 
used to test the program. But it is quite easy 
to change the name and note number to 
anything you want. 

You can also select the MIDI channel for 
each sound. This would be useful if you 
had two drum machines and wanted, say, 
the snare drum from one machine and the 
bass drum from the other machine. In ad¬ 
dition, you can set the velocity for each 
sound over the full MIDI range. This only 
works, of course, if your drum machine 
responds to velocity data. Also, you cannot 
control individual notes, only individual 
instruments. In other words, you can use 
the velocity to control the overall mix be¬ 
tween the different instruments, but you 
cannot use it to vary the dynamics on a 
single instrument's part. 

An advantage of the MacDrums MIDI 
program is that you are not necessarily lim¬ 
ited to four notes at a time. Using the RX5, 

I could get 12 notes simultaneously, which 
is the capacity of that machine. But if I had 
used a second machine, I could have had 
up to 16 sounds at once. 

There is an important limitation that you 
should be aware of. You cannot program a 
pattern on MacDrums MIDI and then load 
that pattern into your drum machine (or 
vice versa). That means that if you want to 
program patterns to play along with on a 
gig, you'll have to take your Mac along. 
On the other hand, drum machines only 
have so much memory anyway, but you 
can have an unlimited number of Macin¬ 
tosh disks with all of the patterns you want. 

Conclusions 

The MacDrums package is easy to use 
(the manual is very clear), and for basic 
drum machine applications, it might be all 
you need. One of the primary benefits of a 
program such as this is that it lets you pro¬ 
gram patterns visually, which is generally 
easier and faster than normal step-time 


programming on a drum machine. Also, if age is a pair of MacDrums wrist bands. It's 

you don't have a drum machine but you nice to see a software company with a 

do have a Mac, this could be an inexpen- sense of humor. ^ 

sive way to have basic drum machine ca¬ 
pabilities: The program lists for only $59.95. 

(You should not buy a Macintosh for the 
sole purpose of using this program, how¬ 
ever. For less than half the price of a Mac 
you could buy a much better drum ma¬ 
chine.) 

For more professional drum machine 
programming with a Macintosh, Intelligent 
Music's Upbeat program (reviewed in the 
February 88 MD) is a much better bet. But 
then, it lists for $150.00. So basically, you 
get what you pay for. If you are only look¬ 
ing for a basic drum machine program that 
is easy (and fun) to use, MacDrums might 
be for you. 

And one final note: Included in the pack- 


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MODERN DRUMMER 
























The December 1985 issue of MD featured 
a Club Scene column entitled "Stocking 
Stuffers." In it, I offered some suggestions 
for items that might be given as gifts to a 
drummer (or purchased by drummers as 
gifts for themselves). The idea was that these 
would be items that drummers might not 
need to select personally (such as sticks or 
heads), but would still find useful and/or 
fun to receive. 

I'm not going to reiterate my reasons for 
including all of the items in that column. 
(You can go back to that issue and check 
them out.) But I will list briefly those that 
are still available (and still just as valuable 
as gift choices). They include: catalogs and 
posters; cough drops, Lug Locks, earplugs, 
drum muffling devices, Beato Tips, cymbal 
polish, stick wrapping tape, product-related 
T-shirts, drum gloves, Pro-Caddy Rax, sub¬ 
scriptions to MD, the Pro-Fan 707, and the 
Gig Rug. 

Once again, for this column, I've made a 
point of selecting items that are reasonably 
low in cost (except where specially noted), 
and that might be particularly useful to 
working drummers. Please note that there 
may be other, similar versions of some items 
available from other manufacturers. I have 
included items that I have used—or at least 
tested—myself, and thus am in a position 
to genuinely recommend. 

If you have a drummer somewhere in 
your life (husband, girlfriend, son, mother, 
etc.), check out this list of possible gifts. If 
you are that drummer, either consider treat¬ 
ing yourself to some of these items, or leave 
your copy of MD —opened to this article— 
in a conspicuous place around the house. 

$10.00 And Under 

Hand Lotion. Any drummer would ap¬ 
preciate a bottle of hand lotion to carry in 
his or her trap case. Loading in or out of 
gigs in bad weather can cause dry, chapped 
hands, and dry hands make for painful 
drumming. There are many excellent lo¬ 
tions, including those with lanolin, aloe, 
and other soothing ingredients. My per¬ 
sonal favorite is Corn Huskers Lotion, be¬ 
cause it works well and is available in a 
small plastic bottle that is easily portable 
and unbreakable. You should be able to 
get a small bottle of hand lotion for under 
$2.00 in any drugstore. 

Cymbal Sleeves. Cymbal sleeves are one 
of those items that a drummer rarely thinks 
about until his or her cymbals start show¬ 
ing wear from contact with the threads on 
a cymbal tilter. Any number of accessory 
companies offer packages of cymbal sleeves 
made from a variety of materials. Some are 


98 


Stocking 


hard plastic or nylon, others are of a softer 
material. I can personally recommend 
sleeves from Dan-Mar (the harder variety) 
and Beato Musical Products (extremely 
durable surgical tubing). A package of four 
such sleeves should cost around $3.50 or 
so at the local drumshop. 

Cymbal Totes. A new item that's just 
come on the market, Cymbal Totes are 
exactly what they sound like: a method for 
carrying around one or more cymbals. They 
are not a case or protective container, but 
rather a comfortable handling device for 
holding and moving cymbals from place to 
place. If you've ever had occasion to carry 
a stack of cymbals of different sizes, you 
know that it definitely takes two hands to 
manage the job safely and comfortably. 
What happens when you need to open a 
door? A Cymbal Tote allows you to carry 
the stack of cymbals via their center holes, 
using only one hand. If you often need to 




carry uncased cymbals from place to place 
(and especially if you don't encase your 
cymbals at all), this simple device could 
make life a lot easier. A Cymbal Tote is also 
handy to take to the music store when test¬ 
ing new cymbals, so you don't have to 
suspend a 20" heavy ride on your thumb. If 
you can't find Cymbal Totes in your local 
drumshop, contact Cymbal Tote, c/o Eric 
Gonzalez, 303 South Hewitt Street #211, 
Los Angeles, California 90021. Cymbal 
Totes are available at $4.99 each. 

Stick Depot. Pro-Mark recently intro¬ 
duced this handy item for holding a spare 
pair of drumsticks within easy reach. Many 

drummers 
drape stick 
bags around 
floor toms to 
contain 
spares. But a 
pair of sticks 
immediately 
reachable on 
a hi-hat or 
other stand 
can often be 


more convenient when a quick grab is nec¬ 
essary. The Stick Depot consists of two metal 
tubes, one on either side of a spring clip. 
The clip allows the device to be attached 
to any stand, and the tubes are large enough 
to accommodate virtually any size of drum¬ 
stick. The Stick Depot detaches from the 
stand as easily as it attaches, making pack- 
up quick and easy. It sells for $7.95. 

The Fanner. The all-pervasive fatback 
snare has lost some of its popularity in 
recent years. Higher-pitched snare sounds 
have become more popular, with the result 
that higher-pitched snare drums (including 
piccolo snares) have once again become a 
standard item. However, there are still those 
times when a fat, beefy two-and-four back- 
beat is called for on a given tune. Enter The 
Fanner. This is a circular sheet of extra 
thick Mylar material designed to be laid 
right on the batter head of the snare drum. 
It isn't a muffling device per se, although it 
does have a certain amount of muffling 
action. Its main purpose is to add an addi¬ 
tional sound, lower in pitch, to the existing 
sound of the snare drum. The sheet of My¬ 
lar is supposed to float freely on top of the 
batter head, rather than being secured in 
any way. 

I've used a Fanner in club situations 
where I wanted to dramatically change the 
pitch of my snare instantly. And it really 
works quite well for this purpose. You do 
lose a bit of rebound action from the batter 

head, due to 
the "floating" 
nature of the 
Fattner, but 
when playing 
a simple back- 
beat, this isn't 
much of a 
problem. The 
use of two 
Fattners to¬ 
gether lowers 
the pitch even 
more, and 
gives an al¬ 
most "gated" 
sound to the snare. However, it also re¬ 
duces projection quite a bit, and probably 
would work best in a miked situation. 

The Mylar material is thicker than a stan¬ 
dard drumhead, and the sheet must be ab¬ 
solutely flat in order to work properly. This 
means that it's more economical to buy an 
actual Fattnerthan to cut up a drumhead of 
your own in an attempt to get the same 
effect. An old drumhead will be pitted, and 
thus won't be perfectly flat; a brand-new 
drumhead would be more expensive than 



MODERN DRUMMER 








by Rick Van Horn 


Stuffers II 


the Fattner would be in the first place. This 
is an interesting sound-varying device (and 
an acoustic one, at that) worth trying. It's 
available for just under $10.00 per pair 
from Timeline Products, P.O. Box 7523, 
Vallejo, California 94590. 

$10.00 To $20.00 

Ratch-lt. Another new accessory item 
from Pro-Mark, the Ratch-lt is a combina¬ 
tion drum key/screwdriver tool that is ideal 
for inclusion in a drummer's trap case. The 
ratchet handle is shaped to fit comfortably 
in the hand and provide excellent lever¬ 
age. A 
hexago¬ 
nal chuck 
accepts a 
special 
square 
drum key 
bit, or a 
reversible 
straight/ 
Phillips 
screw¬ 
driver bit. 

(A small slot in the top of the plastic handle 
holds the screwdriver bit when not in use.) 
This is a convenient, compact tool for quick 
head changes by hand. It's available in 
drumshops at around $14.95. 

Musician's Key-Per and Pocket Key-Per. 
Part of survival in the music business is 
establishing a network of people to work 
for and with. This includes other musicians, 
employment venues, booking agencies, 
studios, etc. The Musician's Key-Per is an 
organizer designed to help you establish 
and keep track of that network. The book is 
filled with pre¬ 
printed page 
blanks onto 
which you 
can fit a tre- 
m e n d o u s 
amount of in¬ 
fo r m at i o n 
about a musi¬ 
cian, venue, 
etc. A lot of 
that info re¬ 
quires only a 
check mark in 
a specific in¬ 
dicator box. 

As a result, a large number of entries can 
be made in quite a compact space. Major 
sections include: musicians, clubs/lounges/ 
organizations, booking agencies, recording 
studios, and other important addresses. In 
addition, there is a personal data page, 


equipment inventory listings, a time zone 
map, a list of AF of M area codes and 
locals, an interchangeable and separate 
show-dates calendar/expense book, and a 
separate pocket address book. The Key-Per 
is bound in a brown padded vinyl cover, 
and measures about 7" x 9". This book 
could be a one-stop reference for most gig¬ 
ging musicians, who often have a habit of 
jotting down names of players or club 
managers they meet on cocktail napkins, 
business cards, etc.—and then searching 
desperately for those names later. The 
Musician's Key-Per is available from Liddle 
Buddy Productions, P.O. Box 4412, 
Spokane, Washington 99202-0412 for 
$19.95 (plus $2.25 shipping). A condensed, 
paperbound version called the Pocket Key- 
Per \s also available for $7.95 (plus $1.50 
shipping). 

Hit Stix. This is an item that might be the 
perfect gift for a very young person show¬ 
ing interest in drumming. It consists of a 
pair of plastic 
sticks, each 
connected by 
a wire to a 
small, battery- 
powered am¬ 
plifier/speaker 
box (designed 
to be worn on 
a belt). Either 
by tapping the 
sticks on a 
surface, or 
simply by 
snapping 
them briskly 
in the air, the "player" can generate an 
electronic white noise sound something like 
an electronic snare drum. 

Admittedly, this is not a musical instru¬ 
ment. But in terms of a musical toy, it is 
superior in many ways to others on the 
market. It's electronic, which makes it "hip" 
and exciting, and yet it's still a pair of tradi¬ 
tional drumsticks. There are no buttons to 
push; a certain amount of "sticking tech¬ 
nique" is required to make it operate. In 
this way, a young person could be encour¬ 
aged to pursue his or her interest in drum¬ 
ming, while enjoying a very "contempo¬ 
rary" sound-producing toy. You should be 
able to find Hit Stix in any sizeable toy 
store. I've seen it in several at just around 
$20.00; it may be a bit higher in more 
expensive department stores. 

Over $20.00 

At this price range, we leave the realm of 
"stocking stuffers." But there are a few new 





items on the market that I think are worth 
mentioning, and that might make excellent 
major gift items for working drummers. 

Musician's Organizer. Somewhat similar 
to the Musician's Key-Per, the Musician's 
Organizer is designed with additional sec¬ 
tions and headings that might make it a bit 
more useful for touring and/or studio play¬ 
ers who need a little more detailed infor¬ 
mation than weekend or local full-time 
musicians. Included are a monthly calen¬ 
dar, a personal resources section, a player 
resources section cross-referenced by name 
and instrument, a section listing venue re¬ 
sources including contact name, pay scale, 
stage size, sound system, lighting info, etc., 
an instrument inventory, a studio resources 
section listing address, phone number, 
board size, rates, special gear, etc., an itin¬ 
erary planner for touring details, a notation 
pad with staff paper, an expense report/ 
receipts section, a zip-lock envelope for 
pens, pencils, business cards, and other 
miscellaneous items, and a floppy disk 
holder for 3.5" 'disks (database, sound 
samples, etc.). 

The Musician's Organizer is bound in 
vinyl, and measures about 8" x 9". Up¬ 
dated sections will be available from the 
manufacturer, so the information can al¬ 
ways be kept current. If you're a touring 
pro or a busy studio player, this book could 
possibly make your life a good deal easier. 



You can order a copy from M.OR.E. (Mega 
ORganizational Enterprises), P.C. Box 
17060, Encino, California 91416-7060. The 
price is $49.95. 

Tap Key II. The original Tap Key, from 
Randall May International (creators of the 
May EA miking system), was a battery- 
powered drum key fitted with a clutch 
mechanism to facilitate very quick and even 
drumhead tuning. It was designed to fit 
into a trap case or stick bag for emergency 
changes of one or two heads. Its major 
problem was the limited amount of power 
it could store in its rechargeable battery. 
After a couple of head changes, the unit 
had to be recharged. This problem kept it 


MODERN DRUMMER 


99 


















from appealing to the very people who 
could most benefit from a combination 
torque wrench/powered drumkey—pro¬ 
vided that it could change a lot of heads at 
a time. These people included drum techs, 
drumshop repair technicians, people in¬ 
volved with drum corps, and even individ¬ 
ual rock drummers with large kits and a 
need to change heads frequently. 

Enter the Tap Key II. The new version has 
been fitted with a removable "battery bul¬ 
let" in place of its original, permanently- 
installed rechargeable battery. This "bullet" 
is capable of storing much more power 

than the pre¬ 
vious battery, 
and recharges 
in a special 
charger unit 
outside the 
Tap Key. With 
the purchase 
of a second 
"bullet," one 
can be in the 
charger while 
the other is in 
service, thus 
providing the 
option of a 
fully-charged "bullet" at all times. RMI 
maintains that the new "bullet" will easily 
power the Tap Key II sufficiently to change 
all the heads on a large drumkit. 

The new Tap Key also features a hinged 
design, allowing it to operate in either a 
long, cylindrical shape or in a "pistol" con¬ 
figuration. This flexibility helps the unit to 
fit into tight spaces on a drumkit that's al¬ 
ready set up. 

I've worked with the new Tap Key in 
both stage and workbench situations. When 
trying to change a head quickly on a gig, 
and get it in tune while other noise is going 
on, I found the Tap Key II to be a real help. 
By setting the adjustable clutch to the de¬ 
sired tension, it's possible to get a drum¬ 
head evenly tensioned without having to 
really hear it clearly. From that point, of 
course, fine tuning must be done by ear, 
but the amount of time required for the 
overall changing/tuning process is reduced 
dramatically. 

In a workbench application, when sim¬ 
ply refitting an entire kit with new heads, 
the Tap Key II proved just as valuable, if 
not more so, simply by eliminating the "tired 
wrist" syndrome that results from loosen¬ 
ing and then retightening dozens of lugs in 
a short period of time. I was able to change 
the top and bottom heads of seven tom¬ 
toms and one snare drum in about 15 min¬ 
utes—and get them all pretty close to "in 
tune" to boot! For drummers who have 
occasion to change drumheads frequently 
and would enjoy using a tool to make the 
job easier and faster, the Tap Key II is defi¬ 
nitely the tool. However, it doesn't come 
cheap. It costs around $115.00, and a spare 
"battery bullet" costs an additional $29.00. 
However, if this price is regarded as an 
investment spread over the entire period of 



a drummer's head-changing career, it's well 
worth considering. For further information, 
contact Randall May International, 77112 
B Talbert Avenue, Huntington Beach, Cali¬ 
fornia 92648. 

The Beat Bug. L.T. Lug Lock, manufac¬ 
turer of Lug Locks and the Gig Rug, is now 
offering the only "meter monitor" I know 
of on the market. The device is a digital 
metronome in reverse: Instead of setting a 
tempo, it reads out the tempo that is being 
played. This allows drummers to constantly 
monitor their own playing speed, rather 
than having a "correct" speed dictated to 
them by a click track, drum machine, or 
other outside source. 

The Beat Bug is a small unit designed to 
fit over the rim of a snare drum and just 
come into contact with the outer edge of 
the drumhead at a fairly small point. The 
entire unit is encased in molded polyure¬ 
thane for simplicity and durability. When 
installed, it sits on the opposite side of the 
drum from the player, and is quite unobtru¬ 
sive. It does not affect the sound of the 
drum in any way; it simply reads the vibra¬ 
tions of the snare hits and gives a digital 
readout in beats per minute. It's powered 
by an AC adaptor that plugs into the unit 
via a mini-plug jack on its bottom. 

Okay, the question that comes to your 

mind at this 

point is, "Why 
would I need 
such a de¬ 

vice?" Well, 
I've been us¬ 
ing it non-stop 
on my gig 

ever since I 
got it, and it 
has proven 
very useful— 
and not a little 
revealing. Ob¬ 
viously, its 
sole function 
is to monitor a drummer's timekeeping— 
and I stress "monitor." This readout pro¬ 
vides an aid to keeping steady time at a 
desired speed, and to doing so naturally, 
via one's own sense of control. There isn't 
that feeling of being imposed upon that 
can come from working with a click track— 
and yet the end result is the same. All a 
drummer needs to do is to be aware of the 
speed he or she wants to be playing at, and 
keep an eye on the meter. If the time starts 
to vary, the meter indicates the change so 
that an adjustment can be made. Every¬ 
thing comes from the drummer, rather than 
from the outside, and thus the solidity of 
the drummer's time is improved while his 
or her playing remains uninhibited. 

Another tremendous advantage to using 
the Beat Bug is that it establishes an un¬ 
questionable point of reference for tempos 
that are often "in dispute." Once the band 
has agreed upon the "correct" tempo for a 
given song, the drummer can use the Beat 
Bug to verify that the song is being played 
at that tempo every time. From a psycho¬ 



logical point of view, this can relieve a lot 
of tension among bandmembers—no small 
contribution in itself. 

The Beat Bug serves another useful pur¬ 
pose when it comes to establishing tem¬ 
pos. I'm generally the one who counts off 
the tempos for my band's songs, and I've 
come to appreciate the fact that I can use 
the Beat Bug as a gauge on nights when I 
might be feeling a little tired, or a little too 
excited, and thus might be more likely to 
count in the tunes too slow or too fast. If I 
have done that, the readout on the Beat 
Bug tells me, and I can then bring things 
back to the pre-established tempo both 
comfortably and accurately. 

The Beat Bug costs $150.00, which may 
seem a bit daunting. But when you com¬ 
pare it to the cost of a pro-quality 20" ride 
cymbal (another timekeeping device), it's 
significantly less. And for the contributions 
it can make to a drummer's playing—musi¬ 
cal, psychological, and physical—I person¬ 
ally think it's well worth its price. Informa¬ 
tion on the Beat Bug can be obtained from 
L.T. Lug Lock, Inc., Box 204, Tonawanda, 
New York, 14151. 

Well, there you have my 1988 list of 
"stocking stuffers." Let me stress that the 
purpose of this article is not to promote 
any of the products I've included. Rather, 
it's to give you some idea of the amount of 
useful accessory equipment available on 
the market specifically designed to make a 
drummer's life easier. Drop by your local 
drumshop or music retailer for even more 
suggestions, and be sure to have a very 
merry Christmas and a prosperous New 
Year! 



!-- 

| JOIN NOW! 

; ™ E DRUM CLUB 

9 pOT>*OT «0 by 

i GRANTS DRUM CITY 

J SEND FOR f YEAR MEMBERSHIP 

1 AND RECEIVE 

! * EXCLUSIVE DISCOUNTS ON DRUM 
EQUIPMENT 

t ■ 1 PR. OF OFFICIAL G.tLG. STICKS 
\ * 1 G.D.C. BUMPER STICKER 
I 31 1 G D C. PICTURED CATALOG 
I WRITE OR CALL NOW* 

I GRANT’S DRUM QTY 

I 426 EAST IRVING BLVD. 

FRVING, TEXAS 7stJ60 


Aik your music store for: 

LUG LOCK * GIG RUG 

1 M TP* 

'.Vt jje [he on] 7 cam pan/ iddreHine 
I he equipment problems you rice 

ewy cim* you ptiy- 

WrLiir for free brochure tlkk-BT, And 
info on our pale need Quick Stand m 
the ONLY auiomatle WehJui si^nd 

^ T&C&; J?k>, 

Box 2G4, Tonawanda. NX 34151 
"PRACTICAL SOLUTIONS" 


IF 


100 


MODERN DRUMMER 










Please send me: □ Back To Basics (video) $39.95 □ VHS □ Beta 

□ Contemporary Drummer + One (audio/book/charts) $32.95 
(in a plastic storage case) 

□ Plastic Storage Case for Contemporary Drummer + One 
($4.00 including shipping) 

Ptease add $4.00 shipping and handling per order ($7.00 outside the U.S.) N, Y. State residents add 8V*% sales tax PAL available—add $6.00, 
(allow 2-3 weeks for delivery) 

Make check or money order payable to DCI Music Video 

541 Ave of Americas, New York, NY 10011 
Name_MUSI* 


WECKLon AUDIO 


VIDEO! 


Dave has become one of today’s most admired 
and influential drummers. Together with DCI 
Music Video he has created two state-of-the 
art instructional packages. 

CONTEMPORARY DRUMMER + ONE 

presents a unique approach to learning howto 
read and interpret charts. It consists of an 
audio cassette with nine tunes, (each with 
and without drums), nine separate studio 
charts, and a comprehensive book which 
explains Dave’s approach to each 
piece. 


This package now comes in a 
plastic storage case which is 
also available separately. 

BACK TO BASICS is a video¬ 
tape on which Dave outlines his 
philosophy and technical 
approach to the drums. He 
presents invaluable information 
on stick control, brushes, foot tech 
nique, independence and more. Plus, he performs 
with several tracks from Contemporary Drummer + One 
and plays some explosive solos. An encyclopedia of drumming techniques. 
An amazing video from an amazing drummer. 

To order, check with your local music retailer or use the coupon below. 


Address. 


Apt. #. 



Visa/MC Accepted (circle one) 


Card #_Exp_Signature- 

To order by phone (Visa/MC) call: 1-800-342-4500 (N.Y. State (212) 691-1884) 

I n Canada: Add $10,00 Canadian (plus $7.00 shipping) In Europe: Music Mail Ltd., 43 South Molton St., London Wt Y1HB, Tel. 01-667-6309 






Ml RIMO, LUDWtC A EVANS Drumheads ai a huge 
Mvlrgi^: All 2TILDHAN A PAISlI cymhiils Jl lowesl 
prK'e^L Huge LXunrd ht l: “..lyings on |h^c following All 
Pra-Maik, Vic hrth, 5dber Kcsx, (Tur.iSirw- fibec Gunit- 
ins, Pearl, ft Rie^al Tip, arid we Nil I em" 1 Amazing Ujw 
prices on all drums ft accessories. EHJurtt Guiid.4, 2677 
OcJdic Bl*d , Reno, Nevada fl L JSl2 (7112) JJMQtll. 
PIlk. Nn tains Tax cin fkti -nr Stale Sales! 


PEARL, LUDWIG, GRtTStH SIMMONS, SONOK. 
DDRUM drumsett; ZILDflAN, P*r5TC, SAGlAN tym- 
Kils; FROM ARK, REGAL TIP, VIC FIRTH, ZlLDjlAN 
dftjm dicks: RtMO. LUDWIG, EVANS. AQUARIAN 
dftjfflhfcods Jl Ihfi p-rscr* Wr Guarmlw Ip bc-,il 

Any Advenlbed Price! Write nr fall \ta JXm ouni Flyer! 
ATLANTA PRO PERCUSSION, 2526 Spring ttruirt. 
Smyrna, GA 3Ek>0G (404 i 4.36-3706, Ask alxui same 
dily shipping. Cad information lor 600 nuirber. 


ELECTRONIC DRUM SAIF: Simmon* Ms, RuLind, Tam.i 
lech^jr wH ft P^irl declwiif diUsnS an s4crtk in qudm- 
llly and on SaleElr D.W. hardware jr amassing luw 
prices!!! Bizarre Gblidt, 2677 Oddre Blvd_ Reno, Ne¬ 
vada B35I2 1702)331-1001. 


ORUiVi MAC. H IN L SUPER SALE: AM iDDD-l A 
DDD-5, afCe^sru'sl, ft R^l.ind (iiM krilhig Tk-7137. TF6 
727, TR-9GG, Tfi-SCfi -S. TR-626L Aletib' new drum ma¬ 
chine and all of Iheir distal reverbi and processors- on 
Vile -and in 4ciflr! Alus RriJ^-rtH Ocl^pad or V»lp Haim 
m..H h icies ill tfi*k ni w in Qiwnlily!!! A1 L- nktA'HiifVilMl * 1 
DlWWfnlftf Prices] KrSJrrt CwiLir 2677 DC fcfce fllvdl.. 
feftu. Nevada fly 51 2 !702j 311-1001. 


HIGH QUALITY SUPER GLOSS DRUM COVERING Af 
GUARANTEED LOWEST PROS AVAILABLE I iWfe've 
kipl I he sume 6>w low price* (or IQ yeare.i Send sell 

.iddn'WHl ■l.ifnjyil eTn^iopr for Imp- Sample^, i Pi lor- 
niiit :.'ri .ird [fficfcu PiMfiiu^Mcin £prvirrS. J1FS Hrmnn 
Ave.. Gncinoafli, Ohio 4.->21l or call I.H.l) 6b 5-2 >47 
Compare, You Won't Find A Berber Oe-il! 


ShMiwm pillion Malta 54*5^9, 5US-10TO in Stock I 
Will ben any JtlvO-nr^d P-mc' Allanlj Pro F^us^rjn, 
P104) 426-DRUM. Used SLiS- I0CXJM SWfl. Used 5DS- 
H S749. Cad inlormation lew SOI) ncimlKrf. 


CHRISTMAS SP-ECiAlS! 

SUPER DISCOUNT VIDEO AND BOOK ILVEK! M ft K 
P^OduclioAS. Bid- Green*d£je Circle, Lanahatne. ha 
1^:H7 (21 SI 7!1CLNE1A'S 


DOUBU PEDALS Iswen in USA. ow, PEARL, 
LUDWIG, Cfl-TOO, i CP IDQ-DRlJM. Ail^nM 
Pr? P**fcus^iofi, CaU or w*it-e ior free drtc(n^il flyer. 

Spri.ig Rtted. Smyrna. GA JQ08D. Call nrloffma- 
Eio^ frji- 5Df) mrrtilKnL 


‘■'VINTAGE BLACK BEAUTIES j, RADIO KINGS'"* 
Ijtid them at the Vintage Ortim Centecl LVespecialize m 
■siMrfcji,*' Linly and nlftr one of the lu'^enr ieJecfions. or 
LftahJge wJ.r-re tfrvim. ^nywhcwe.'C-aB EOra frtt availabil- 
rty liil (Si SI 69^- Bby i t^;i I^Tl rjr wriri^: VINTAC.il 
DRUM GEM'EK. e JSB-B Route 5, Lpbertyviil*; r IA S2Ji67. 


Mic:Hh T->rryijf Wrench [T«a»n Tjnc-r. Tune ll^cr, accu- 
■arflv wilhpul tuavii^ Hi liij'ai dnin. A Iflillily c hrrmr'd 
fleet bool Guarjoleed. Send $10.00 !□: KlTWlT r 4**2 ! 
N,E. 60qh, Portland, OR 57216. 


ittMC Kcrg, .Mid alhtfr-rx'w M GmriU& hrjinrt' Piom Mj- 
fhines-ln Sroc-k! We Iw-Jt .uny adv^rthc-d prifi.e. AMrmla 
Pro Percuss kin. i4D4> 4.3A-1 "At. C.dl mrp. 6lltl nunv 
b*r 


fREtr WIN A LUDLV-iG 10 PIECE DOUBLE B/\5S 
DRUMSLl NAME I Hi STARS $WEEPSTAKES-CA11 OR 
WRITE fOK UHAILS. ATLANTA PRO PERCUSSION- 
2524 SPRING RD... SMYRNA, GA 3Q0BQ H04? 436 
J7B4. 


RADIO kimGS; f \w nair^L-- Circa Pcd'csl ct^t- 
rion, S3 r SOO. iBlflt 741 *ri¥i! 


RCMJERS'KCKiERS DRUMS. PARIS. ACCESSORIES. 
MEMfilLOC, SWIVO'MAI l( . R- ir,fl R-TBO L^, rinm. 
T todfii, Cymlul it^ndb-, PtiLik. iHi-HaE ‘M.indv Hng^- , 'i 
C!?r!jiinel Lugo Heads. Add on ITruais. Compfeti* 
ftims and 1 >jq 3 Tom Hokfers. Dynasonit *rtaieh jiilJ 
frames. Rogers Drum Sticks, AH Sizes, kj^sa Slid 
C'tnldyy SlkL irdy?. Bass Drum HtKjps-, Drum Thrones. 
Vii'L*- Boui^hi All T hi L Drum Invprrlnry fpnm rnrxipr 

IVkrbiL.il IriviiunwmiH- Irk SLcm k R :ilv M.ip> iSht-Ns jiiH 
Covering. Al^o. Ufed l udwig. Sllnffrljind. Gn-iM k. 
Snno- r Drunis. Parts, Call for those hard la -find parts 
and acHit^ori^ Al Drew's Music, 526-524 F^onl SroiK-, 
WmiwwtK^. R,l f?2flg^. Te\, m\ \ 764-35 52 


VINTAGE S^ARES, K. ZIlDplANS, CATALOGS, ( ALL 
151 53 69 5-4651/69J-J4II OR SE^D STAMPED ENVE¬ 
LOPE TOR UST; VINTAGE WUM CENTER, RR1-95BI i. 
LlBFRTYVILLi. IA 52567 


Ntw “Neil Pt^rL Mcadel" dryn'i L'jI| ch v-rit-^ I'im 
FREE cjialoit. Cnll inlnnmariurh Nvr loll hreelflXl number. 
Atlama Pro Pereussion. 252b SpunR Rd., Smyrna. GA 
100BO L4D4H 36-DRUM 


USiM Sees: Ftento ft \M . wilh h.irdw.iw $?99r Lmdw^ 'l 
pc. wkh hardware $-l e TV; LurMig 111 pt rfouble Iviib 
wilhi hardware SB99! Allanta Pro pHCUHkm 14(W? 
DRUM. 


BC^RSN: DRUMS LW JI.rC 1H T.hiC JL I JyCONSlGNR [1 
HORRICAN DRUM SCHOOL 141 7) 770- TflT7. 


VINTAGE DRUMS. RADIO KING—W.F.L.—LUDWIG 
ft LU OW1G—LEEDV—LUDWIG— GR ETSCH - RO- 
CERS-SLINGEKLAND-"-SETS. SNARES. TOMS. 
rLOQk TOMS, roOTPEDALS. CALF SKIN HEADS. 
HtX)I J 5. KI.M5- L L.G5. STANDS. PTC. IT VOU NEED 

it we can find m r r wp'kp t7,ikkii W} ft m: 

AL DREWS MUSIC, 526 FRONT STREET. SVCKiN- 
SOCKO, Ri I-401-769-JSS2. 


Dbc riixsl Drum Euuipsnenl. Cril'nn W4*r Drum Shop, 

lb Nrwthlield Ave. - . VW<.i Or.ir^r. NI C37ll=.2 i/m I 736- 
3113 


■TKICGtRS 1 OfiDER TODAY FOft IHESE FANTASTIC 
TRIGGERING DEVICES- WORK EFFECTIVELY WITH 
ALL POPULAR bLFCTRQNIC DRUM UNITS, DRUM 
MACHINES AND MIDI CON I RTK I PltY STND $19 H5 
U.S. EACH 12 FOR J35.fW> S ,l AYAiSLb TO: M_|. C(X> 
PEK ENTERPRISES, BOX 43464. DE1RC.3IT. MIL’.HU., AN 
4fl.24t —Gt.3AWA.VTffD r 


Ccftd&r Urum t.o. noi cmiLv %~vs maple \hrW\ t^ivning 
material a-nd hard^-'are, but v^e-v^'iM maifedrumi 

fur ym.- BUY DIRECT jnd SAVE. Wrile fur inf-omia- 
limi. Cunder Lhum Col. 1122 1 2Hi Avenue. Humaville, 
AL J5-SL6. 


E.AME5 HANI>CRAFTfD S^nh Amt-rfon Biich Dium 
Mldll. Re let. I irrrirt Fini j lrrM t . N^il-.jr.iihinr', <it Ma^lH 7 r- 
Lune unfinished cn i ir^ittf sheik. Dt^i^n y<jur own 
in-itoimcnl as only Ihe d^scemin^ player can...for Iree 
hrnchtKe wfFte- fame^ Dmnn, 22^ Hamilton Street. 
S.ilij.ju 1 .. MA Lll^nf.. 161 71 ?U-1 411^ 


KEN ILUSORIO'S PRO OfiU.M SHOP .Acoustk and 
elpi-(K^ii.> Pf-irl. Tama. Greisch. Ludwg. ROC, eic. 

Kpcor^Mnj^ jnd IftHfuLliun 160S Sonora Blvd., 
V.ille^i. C >. n-J^-ll 17(1?:. 642-[,JPt|M 


Used: Drum Wurkshqfj, 24 X 16 Bass Dnim. 13 X 14 
Tenor Tom, lb X lb Floor Turn. $ t, 100.0(] (C*n. findtl- 
Edmonton, Canada. 1 (403> 4S5-4B3S. 


POWDER COAT YOUR DRUM HAJtDWAWf. IKAKS- 
LUCENT AND SOLID COLORS. BE UNIQUE, IX7K" I 
DC LIKE EVERYONE ELSE. EK>XYKO IE aim N. 
HflNT^ ST. fSA- DWTN PARK CA 51706. ^fllAL 
UAl. 


DRUM STICKS S3,00 PAIR. 21 MODELS. STEVE WEISS 
MU5&C 1215! 329-1637. 


Dynaco-rd ADO-one wilh Binriper, E4,2tH>. L .lil'y^ 
V>irnH Chcsi Si.500. F-mu SP-1200 wiih Disks and 

l !ij.;L'n ca^. (2^00. 5eri<>u^ i.m-ly, i.OOd) 460-2602. 


b ! ,'2 X 14 B LACK BEAUTY, RADIO KINGS, CRET5CH 
ROCKET LEEDY liKOAEJWAy (61 >) 662-1 533. 


H\r Sate; vinuje Snare anti nm, Pr& 1^19. 5nait by 
LetHily \% 14’ Si IfY"; hy L LdwijJ, .thd I udwit; i* 24 M X 
14.5". Btrth y h i m’d conthtloo wi\h L-imh-iiJe drumhparlv 
5esid damped env^lupe fur ptclure. |. ALniir^mery, 
tot. Lands^^nt? Dr. Bt.KkdbL.rj. VA 24060. (70 jj 552- 
6735, 


filin^erl rtplJCen-MihL pjflb I't^ I^-KbI llenb are avail 
.iLitif Ihrough majov |>eitussiun ^tu^i, Fur iTn- name uf 
;l\e dealer in s'oui area write: Siinsjertand LSA Inc^. 
P.D. Bn« 158, SC 3Wi. 


fREE! DRUM CHARTS., CATALOG A SAMPLE! Ab*no- 
lutdy ih> ■ IksI! STARR PRODUCTS. Buk 247—FSlD, 
NantiBl H\ I09>4. 


5aS' BARNARD'S SUFXRGLOSS DRUM MaHRIAU 
5 dnirtny -S40.99 WL- h*v\.- replied oor stock 
wilh Haperlot iTi.i: l- ri ■ 1 1 SL. PE Fi-[H CSS5 II ^ ■ It In-^tv k>n^irr 
: |nd r^si^rs Lit.il, (602! 279-‘1641. 


ROLAND DDR-30, 6 DORUM PADS, COLLARLOCK 
iiTAND. X-TRA5: S2.3™.00 SIMMONS SDS-5 5PC. 
RED- $975J» SIMMONS SDS-5 BKA1N 4 MODULES: 
55LHI.UO. |JDS>73T.24<i1, 


Jeff Pfer-caro. CfL 1 ^ S^wineMe, Carlos V?Ra, Rikki Rork- 
siL Mike Bailed ft hundreds irra« use Varlty Dturn 
Shouj'^ Custom Maple Smrv Lirumt, 1 3636 Burbank 
13Mi.. Van Nuyi. (> 9140F, (SIfli 994-1 7=s5. 


ddrum -SUxIn^ Mnd^H (Brain Onlyb kr>.id 5i« 
Modules. Ewtra Canrld^es. Excellent CtNiduittu $1 
<21 >1259-4520. 


DRUMMER Ortl«:iii™ iOmpleit'. JW>.00 
or Bew Reasonable cUfer. Dow-nbeaTs.. 1 VW'M#. ^.A.5-fc. 
R_ Hines. 1 5 C^enry Hill Lane, Meniden, CT 06450. 


DEALERS”' VATEK PERCUSSION |MC. WORLDS .MOST 
Dl$t RIMINAriNG MFC. ( IF Mj?IVATF. I AFaTt ft 5JC- 
NATL.RE MODEL DRUMSTICKS, OFFERS IH^ HIC,ihF- 
EST QUALITY U.S.A. HICKORY AND MAPLE HttUM- 
STICKS AVAILABLE. GUARANTEED STRAIGHT AND 
DEFECT FRC[, MA-L: 270 CENTRE ST,, HOLBROOK, 
MA flj 14 3 TFI ■ 6 E 7- 767-1A77, TAX: 617-767-fXl 10 


DRUMMERS-LIMITED OFFER. ‘'TWIRLEKS* Only 
Siitks^ Ln [hi? wv r l(L *i|h Uiih-in-COMROL RINGS plus 
jnfithJLiiiMi*. EXCELLENT trir BEGINNERS, T^rE dnjm- 
<jiik.i while fy-liurrm.i-;. jaJZ^Rofk^Nirt Club dnim- 
iners. S-9.95 pf. plu-^ $1,50 P^H, tolal Si 1.45. Twid a.- 
silk. Bcw 5I26MD, Poland, Ohic44>14. 


I ImiU-d tfu^nliiy'! R^pa^irdn 53 .lt liyh’i-d stkk^, 2nd 
quality, only JM.Mj plus ’Shi pp^inp. Vdcot^iVE', PtJ Bnx 

70215. Pa^dena. CA 91107. 


Frt-H IA j lailsnr1 uniput. 1 pcrevsfiion p^idur »nrludin^ 
Dick Petrie Vkled and Auekrt lapui. TOIL I RIF 1-FHT0 
PLAV MUSlifJ exre^r L A. 


Gig> cm Crui-^i Ship?. Sr-nd 51 5 3Jid 5A5E for complete 
inf-urrn.iliur* piLiii-l iiir ludi^ l onl r,i< N its. phene- num- 
bi'rt and qualificai^ni. TM1 Eniwpnsge*. ti Vvi-Hissy^m 
Dr., Endlcoff, NY 13760. 


**** ■ ■ -”” 1 **■■ ■ ■ VINTACI DRUM-S" H1 **** - fr *** <i 1 ** 
FIND WHAT YOU'VE BEEN 5LARCHING FORI L^Mig 
Black Beaulieu—Sli^erland Radies Kings—Grc-tedt— 
L«m:^—V hfi age Catalogs—K. Zifdjian?—-Rogers -eL. more! 
We^^ initr v in 4-intnjio only , .ihat's- h<>w we can c^fer 
■LinL 1 of ilte- largest ■rf'ltr.iioris uf vLiUagr insert 1 drvimb- 
.Pi^ywherei' W r ti huy-Miirirjdr.'-ujiisi^ri. Cull u ....yriy 'll 
kke our Joined ptr&onai service <315? by-J-BbTl, b'J.1. 
3bII ..of write lor a 6ee avaiiabilth 1 list; VINTAGE 
DRUM CENTER. 95B Route *1, Litoertyvilfr, IA 52567. 


Cymbal vmc?t!H b^s any ^iidplan cymbal yrju need al 
gn-iil prices, FAST dplhviery. nnd FBI I f Rf LGHT 

anywhere -m rhe Un ied fkaies. Call uci^v fix ffH-TKily 
service [717) 194-3706. 


102 


MODERN DRUMMER 
















































I ]RUMS, FTC. Das< iMJiii EJiirfrt Oiillet has TAMA, 

SONOH. ^nd PKEMILR Drumvft? ready *0 -ihip niyy- 
where in :he tinned Stah»- Vie wjni ytiuT busings 
Dhjwh, Elt. will beat all Olher advE-rLmd pcin'v (..all -.iv 
for a price. You won't be disappointed. iS 71 19*- 

DKUH 394-DNUM. 


THE MASTER MUSICIANS DRUM SHOP—Wi SPE¬ 
CIALS IN USFD AND VlNlACL DRUMS! NT* 
SONGR -1 PC., FLAME DANCE. Sfrt",. 5J INCLRI AM3 
v RGtLlNC BOMttEtT RADIO KING 4 PC., MINT! h(l\ 
5EINGERLAND 4 PC.. BLACK .MARINE PEARL. 54<K. 
OTHER SETS, S-NAkr?, SI NC.il FF. PARTS AVA LABLE’ 
too MUCH TO LIST! Wt HUY, SELL. TRADE! NEW 
N03LE .4 COOLEY, TAMA, PEARL LUDWIG. 
ZILDHAM, PAISTE! WE SHIP UPS! CALL FOR PRICES 
AND AVAILABILITY! ilOtl 261-2111. 


CYVIB.AL.S!! CYMBALS!! 7ifdji<im. all series, including 
BRILLIANTS, PLATINUMS III WiKk. WHOLESALE 
PRICES! Satisfaction guaranteed. Call rtf wriiu few FKFF 
flyer. Wad de l I s Cymbal Warehouse, P.O. tiv% 10ft, 
Lemhburg, PA I5656, 



COMPLETE SELECTION OF BOOKS, CA55I17*5, AND 
VIDEOS. Call or wnie tor disoamu llv^- MEW) -3 i l>- 
37B6 ATI ANTAPfiQ PERCUSSION, J526Sp*inR Road, 
Smyrna, CA 30000, tall ■nf^rm.iiion for fiOQ numljor 


A KM LYTlC DfffUM TUNJi/VG reCummitfvird hy Rum 
K unkel, Su-nor. Modem Dtummof. tompleie Dium Tun- 
■nj induction. Cel 'Yuur" Drum Sound. Send 17.9S 
lo: Steven Walter, Ho* I^dpts.., IN 46240-0352 


lnwi; rJitrr.'.MsJiCAS mse n^fV; NuDeview N*e- 
es-tary:' Ui jM Ctwph Trick, t j-.rly JiMmrd. Th^iM.- pj^i!-. 
describes technique. Send SS.Sn bn steyen Walter, 
bo* 4035 L tadpls , IN 46240-0 31J-. 


POSTON: RJHN HONKKJAN SCHOOL OF MODERN 
DRUMMING. 1.6 T 7) 770^)7, 


DRL-MIAm! Trouble with solos? Here's ihe npe ihai 
wii help yo j wuh creiiEive soto development and lima 
impf^veny^ni. All y-ju need la do is jusl j-am With it: 
HQ-95 plus |1 .S0 tor 5 AH il>- Percussion Egress. PO. 
Bt:-K 17 J1, RncktorO, IL AHH'l. 


EASY' READ ROCK STUDY PACKAGE Leam to 
read ..fLfllnlesslyl Open d<w*s to yr*jj iutofe with our 
fasnews Tywu CufcircimLepi {tor banners-! Gachev pres), 
Endorsed by Hellsoa Lundm, Chapin Includes accent. 

Bilk and lhi> btE'vt Ri)fk tickv. 4 i!' mingle raSM.'d<‘ p .ly-j 

each eKHcke wnh musk: Jl^.55 fttf c*ricire pjiiyrge. 
Add S2.00 for S&H. PfiTcunsion Enfir^s, P.p. Ftes* 17^1, 
Rcckfcvrd. IL 61110. VKA/Ma&terta#d HOTLINE: mi Si 
9SZ-3147- 


EASY READ |AZZ STUDY PACkACjE At Llsl! Ljk\.it4.:riLi. 
b ij. Band. Beifop. La1hn>'|azz. Includes solos, fills, ac- 
i-rnh', V4. r iM 17/ft. i*vpfi Fmpshes, Grefll ^r leache^?- 
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Cvnii'nurtfrM^a#e r^i 


MODERN DRUMMER 


103 













































Aq otoyd 






0 „ ranC e! What more can you ask for! 

Best Pads! Best Sampling! Best PP , an Haugland 

EUROPE 


ddrum, Inc. • 25 Lindeman Drive * Trumbull, CT 06611 • Telephone (203) 374-0020 * Fax (203) 371-6206 

















DRUM MARKET continued from pnge 10 .J 

Atlantic City & Phi la. area: Master The Wisdom Of 

Legends. Develop your musical mind & body to a 

higher degree. AM Styles. Also Finger System. 30 yrs. 

exp. Teacher, Writer & Performer, Armand Santarelii 1 - 

609-822-9577, 


"Visual Aids," the book of showmanship drummers have 
wanled for years. "Visual Ards/ a 42 page completely 
iilustrated guide to learning the twirls and flips used 
worldwide by the pros. The book has five chapters on 
twirls plus three chapters on flipping. No future show¬ 
man should be without this book. To order send SI0.00 
plus $2.00 shipping and handling (£ 12,00 total} to: 
"Visual Aids* P.O, Box 294, Winter Haven, FL 33882- 
0294, Foreign Orders Accepted. Allow 4 weeks for 
delivery. 



BOSTON: DRUMS BOUGHT/SOLD/CONSlCNEO, 
HORRIGAN DRUM SCHOOL. (617} 770-3837. 


WANTED: DRUMMERS TO RECEIVE FREE DRUM 
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Cash or trade for OLD DRUMS andi CATALOGS, (615) 
662-1533. 


Manufacturers: Drummer seeking drum products to 
market in FLA ./Southeast area. Drummer, Box 2235, 
Brandon, FL 34299. 


WILL PAY TOP DOLLAR for tunable Ludwig Tambou¬ 
rines with wooden shell, double rows of jingles and 
coaled plastic head. Must be in excellent condition. 
Call Akiva (212) 885-1155, after 8 pm. 


3 Sonor Delux cymbal stands from 1965 to 1973. 8ob 


IT'S QUESTIONABLE continued from page 

poor job markets improve their situation by 
renting a hall, or arranging the use of school 
or other public facilities to stage their own 
dances. Of course, the income here is un¬ 
predictable, since you'll be working for 
whatever the "take" is at the door, less your 
expenses. But at your just-getting-started 
level, it might be more important for you to 
gain experience and exposure than to make 
a great deal of money right away. 

The rehearsal process is very important 
when just getting started. You need to have 
a place where you can rehearse reasonably 
often, and in privacy, until you feel confi¬ 
dent about your repertoire and presenta¬ 
tion. At that point, it might be good to 
invite some people whose opinion you re¬ 
spect to listen to you at a practice and give 
you their comments. You don't want your 
first appearance before anyone at all to be 
at a paid performance. 

Most of all, remember that you need to 
keep your musical activities fun. By all 
means, adopt a professional attitude and 
do the very best you can to make your 
group popular and profitable. But don't let 
the "work ethic" overshadow the fact that 
playing music, whether for the paying pub¬ 
lic, for one's friends, or just for one's self, 
should always be an enjoyable activity that 
provides you with personal satisfaction and 
entertainment. Good luck! « 


READERS'PLATFORM continued from pagv 6 

clip, and two adhesive pads. Bob men¬ 
tioned that he prefers less obtrusive, flatter 
pickups, while ours is 1/2" high. But some 
drum rims are almost that high. Our trigger 
was designed so that the cable, when 
plugged into the top of the DT-1, would 
flow over the rim without touching it, 
thereby eliminating false triggers from the 
cable bouncing on the rim, and also ex¬ 
tending cable life. 

When I sent Bob the unit to test, I in¬ 
formed him that we would be encasing the 
piezo and solder points of the DT-1 in the 
future. In his article, Bob wondered if this 
encasement would reduce the sensitivity. I 
would like to let consumers know that we 
also were aware of this possibility, and as a 
result we increased the output and sensi¬ 
tivity of the unit before encasing it to im¬ 
prove the durability. 

Steve Hickman 
J.T. Enterprises 
Kennewick WA 


MALADIES & REMEDIES 

After reading Rick Van Horn's "Maladies & 
Remedies" in the Club Scene section of 
your September issue, I would like to thank 
you for all the advice that you acquire and 
pass along to your readers. I've always no¬ 
ticed that people who play drums are usu¬ 
ally more likely to pass along secrets or 
helpful hints than are most guitarists or other 
instrumentalists. The fact that I read your 
magazine every issue proves that to me 
every time. I've read everything from how 
to silence a practice room in a way I've 
never seen to getting rid of the hiccups. I'm 
not one to pick up a magazine these days 
simply to see who's dating who, but rather 
to learn different ways of improving my 
playing or my setup. That's why I've kept 
my subscription to Modern Drummer. 
Thanks for all your help in the past, and for 
keeping your eye on what's happening to 
all the modern drummers! 

Bart Windsor 
Wichita KS 


BISSONETTE SOUND SUPPLEMENT 

I would like to thank Modern Drummer for 
the great Sound Supplement by Gregg Bis- 
sonette in the July issue. I think Gregg's 
playing—particularly on the tune "The Brain 
Dance"—was very impressive and creative, 
and the feeling was good, too! Thank you, 
and let's have more of this type of feature. 

Riku Rautvuo _ 
Helsinki, Finland |lg 



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MODERN DRUMMER 


105 











































DRUMKAT 

MIDI 

CONTROLLER 

The drumKA T\s a MIDI con¬ 
troller specifically designed for 
drummers. The unit is 17" by 
11.5" with a natural gum rub¬ 
ber playing 


zones to allow the user to 
choose the shapes and sizes of 
separate drumming areas dif¬ 
ferently for each song. Each 
pad has separate software 
settings for sensitivity. 

The drumKAT has two MIDI 
I Ns that can be selectively 
merged to four MIDI OUTs, 
nine analog trigger inputs (with 
separate software gain and 
mask settings), 


surface. 

The playing surface 
is visibly divided into 
ten adjacent "pads" that 
are circular sections. These 
"pads" can be grouped into 


four 

foots witch in¬ 
puts, and a click out. It has an 


on/off switch and a removable 
AC power cord, and is 110V/ 
220V switchable for playing 
outside the U.S. Sensitivity 
settings for the trigger inputs 
can be set by "autosensing" of 
soft and hard strikes on the 
trigger pads. A large range of 
sensitivity is possible. 

The dmrnKAT has a backlit 
display with four 16-character 
lines, providing a large amount 
of readable information even 
on a dark stage. A MIDI 
monitor feature is provided to 
allow observation of system 
MIDI activity. Even a MIDI 
cable test feature is provided. 

Thirty-two "kits" of perform¬ 
ance settings are contained in 
the drumKAT. These settings 
include zoning, MIDI Chan¬ 
nels and Notes (up to three per 
zone), velocity settings, gate 
times, Program Changes, and 
Volumes (six per kit). Special 
features include: dynamic note 
shift, dynamic gate time shift, 
individual delay times when 
using three notes on a zone, 
and even MIDI commands 
from the zones. A drummer 


may also use the drumKAT to 
directly control the MIDI clock 
tempo and song selections on 
external sequencers. For 
further information, contact 
KATMIDI Controllers, P.O. 

Box 60607, Longmeadow, 
Massachusetts 01116, or call 
(413)567-1395. 

DDRUM 2 

The ddrum 2 is an eight-chan¬ 
nel, fully programmable, 
MIDI-implemented brain 
utilizing internal sound 
memory as well as outside 
cartridge ports for sound 
storage. ROM memory assures 
an instant change of sound 
without any loading time. Any 
sound may be assigned to any 
pad or combination of pads, 
parameters may be changed, 
sounds may be linked together, 
etc., in order to create an end¬ 
less number of "drumsets." 
Memory is protected even 
when the unit is turned off, or 
sounds may be stored exter¬ 
nally via RAM memory 
(known as the ddrum kitpac). 


center rolls music 
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Percussion Keyboards $ 
Guitars Multitrack Lighting 
Sound Systems ^Amplifiers 


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1065 West Broad Street 
Falls Church, Virginia 22046 


r TRAP BAG 

Accessory Carrier 



for carrying all of your hardware; stands, pedals, 
throne, cowbells, tamborines, mics-cords, 
stickbags. gig rug etc. the TRRP BAG™ is 

n Good Idea 

only from 

Slobeat Percussion 

P.O. Box 175 • Evergreen, CO • 303-697-4202 


106 


MODERN DRUMMER 





















‘DW is the “Cadillac” of 
drums —America’s best . 
And if you need more of a 
reason than that, maybe 
you should be playing 
another instrument 




Hear Rikki and his DW Drums /ACtf A m 

on Poison’s platinum album, ^‘A J//W/ 

Open Up AndSay...Ahh! i aA\Y/ 

Drum Workshop, Inc. / 2697 Lavery Court #16 / Newbury Park, CA 91320 


ROCKETT 



The ddrum 2 has two sound 
generators per channel, which, 
according to the manufacturer, 
gives all sounds a very natural 
characteristic. The unit has 
1,000 increments of dynamics 
for maximum sensitivity. For 
more information, contact 
Chris Ryan at ddrum, 25 
Lindeman Drive, Trumbull, 
Connecticut 06611, or call 
(203)374-0020. 

PRO-MARK 
EXPANDS 
MARCHING 
STICK LINE 

Pro-Mark has expanded its line 
of Texas Hickory marching 
drumsticks to include several 
popular models previously 
available only in Japanese 
Oak. Those models are the 
DC-2S, DC-3S, DC-9, and DC- 
70, each specifically designed 
to meet the requirements of 
the most demanding drum 
lines. For further information, 


see your local Pro-Mark 
dealer, or contact Pro-Mark, 
10707 Craighead Drive, 
Houston, Texas 77025, (800) 
822-1492. 

NEW 

PERCUSSION 

PRODUCTS 

FROM 

GROVER 

Grover Enterprises has an¬ 
nounced several new prod¬ 
ucts. In addition, improve¬ 
ments have been made on 
existing items. 

Two new mallet models 
have been added: Model M2X 
(11/4" nylon-headed bell/glock 
mallet) and Model 5 (brass 
alloy head). Both feature rattan 
handles. A new line of gong/ 
tam-tam beaters includes 
Model 77-7 (extra-large, with 
dual-radius hard rubber core, 
for use on large gongs) and 
Model 77-2 (general-purpose, 


with single-radius core and 
special balance disc in the 
head for added weight). Both 
feature hardwood handles that 
are hand-sanded and sealed, a 
protective tip, and mounting 
cord. Each mallet is individu¬ 
ally hand-wrapped using 
three-ply yarn. 

Grover offers a protective 
tambourine case made of rip- 
proof Cordura. Each case is 
padded and will accommodate 
one 10" double-row tambou¬ 
rine. Cases are available in 
black or red. 

Seven new models have 
been added to the Wolf snare 
system, each of which will 
retrofit any standard drum. 
These new snares are manu¬ 
factured using 12-strand 
wound nickel-silver or bronze 
wire. Each strand is individu¬ 
ally tensioned prior to casting 
into a plastic resin butt end. 
Two models are available for 
13" snare drums; five are 
available for 14" drums. 

Grover has made improve¬ 
ments to its Projection Plus 
tambourines. The solid hard¬ 


wood shell has been reduced 
in width by 1/4" to create an 
easier grip and reduced 
weight. The tambourines also 
now feature a "two-tiered" 
staggered jingle arrangement, 
with the top "tier" of jingles 
mounted in slots 1/16' narrower 
than the bottom "tier." 
According to Grover, this 
creates a smoother tremolo 
and shake roll. The tambou¬ 
rines offer calfskin heads and a 
choice of German silver, 
beryllium copper, or phosphor 
bronze hand-hammered 
jingles. For more information 
on any Grover product, write 
Grover Enterprises, Pro 
Percussion Products, 29 
Bigelow Street, Cambridge, 
Massachusetts 02139. 

ODDO MUSIC 
OFFERS 
MARIMBA 
PIECES 

Oddo Music has released 


THE NATIONS 

ELECTRONIC 



NATION’S LARGEST SELECTION 

WE BEAT DEALS NATIONWIDE! 

CALL US AND WE LL PROVE IT TO YOU, 


CALL FOR EXPERT ADVICE 
ASK FOR OUP TOLL FREE ORDER NUMBER 

1-713-781-DRUM 

5626 SouEhwflsI Frwy, HfluStOfi, TX 77057 


Old faithful. 



The Ludwig 
Speed King. 
Too lot of today's 
top drummers, it isn't just 
afoot pedal — it's on 
old friend. 


after set .year 
after year. 


If you could use 
a friend like 
that, see your 
Ludwig 
deafer. 


ASEUUielKOMfWNy 
P.O.Box 310 ■ ElkhirMN *051! 


H38 


MODERN DRUMMED 


















SINCE 1965 


The only name you need to know in Drumsticks 

Fibes, Inc., P.O. Box 282, Pittstown, NJ 08867 201-730-8119 



Volume #2 —Six More 
Guatemalan Marimba Pieces. 
The selections include works 
by Hurtado, Bethancourt, 
Guzman, and Ovalle. Each is 
arranged for three players on 
two instruments (marimba or 
xylophone) on large page for¬ 
mat. Two extra parts are in¬ 
cluded (doubling parts one 
and two) to accommodate two 
additional players to create the 
full orchestrated effect of the 
authentic Guatemalan 
marimba. For more informa¬ 
tion, write to L Oddo, P.O. 
Box 1074, Maywood, New 
Jersey 07607. 

LANG 

PERCUSSION 
ADDS MIDI 
MASTER 
VIBE KIT 

Lang Percussion, Inc., has 
added a new MIDI Vibe Con¬ 


verter manufactured by K&K 
Sound of Germany to its line 
of electronic percussion acces¬ 
sories. The converter is sold as 
a retrofit kit that can be made 
for any size vibraphone. 

The kit includes a MIDI con¬ 
verter, individual pickups for 
each bar, and a pair of collect¬ 
ing bands. The pickups are 
easily epoxied onto the node 
point under each bar, and do 
not affect the acoustic quality 
of the instrument. The outfit 
has both MIDI OUT and 
standard W male plugs that 
can be used for straight 
amplification, as a synth 
trigger, or any mix of natural 
and synthetic sounds. It is 
touch-sensitive; notes can be 
rolled and the unit responds to 
mallet muffling. The response 
of each bar can be adjusted, 
and the patented wiring system 
eliminates feedback and dis¬ 
tortion. For more information, 
contact Lang Percussion, Inc., 
635 Broadway, New York, 

New York 1001 2, (212)228- 
5213. 


LP RELEASES 
NEWSLETTER 

Latin Percussion, Inc. has re¬ 
leased its Highlights In 
Percussion Summer 1988 
newsletter. The newsletter 
includes a 12-page historical 
and educational overview of 
Latin percussion as an integral 
part in today's music. Articles 
include: tips on playing the 
clave from Bobby Sanabria; 
Martin Cohen's photo shoots 
of musicians from the world's 
great cities; and an LP 
endorser update. There are 
also interviews with Richie 
Morales of Spyro Gyra and 
percussionist Steve Forman. 

Other pages are devoted to 
product news, gift items, and 
other consumer-related infor¬ 
mation. Copies are available at 
LP dealers nationwide, or 
directly from Latin Percussion, 
Inc., Dept. 559, 160 Belmont 
Avenue, Garfield, New Jersey 
07026. 


NEW 

ROLAND 

PRODUCTS 

Roland has recently intro¬ 
duced several new products of 
interest to drummers and drum 
programmers. These include 
the Pad-80 Octapad II, the 
Pad-5 MIDI Rhythm Control¬ 
ler, the R-8 Rhythm Composer, 
the T-110 Sampling Sound 
Module, and three models of 
compact mixers from the Boss 
line. 

The Pad-80 Octapad II is an 
updated version of Roland's 
popular Pad-8 Octapad MIDI 
controller. It has been fitted 
with several additional storage, 
patching, chaining; and 
mixing functions, improved 
control parameters, and such 
features as a MIDI Soft THRU 
function allowing multiple 
units (or other controllers) to 
be connected together in order 
to expand the user's perform¬ 
ance capabilities. 


Killer for Hire 


“f’m hired to kill with my drumming,"says 
Keith Cronin, drummer for the Pat Travers 
Band, currently on an extensive tour of the 
United States. 

“The ‘Kill On Command' drums by Res¬ 
urrection Drums are my weapons, they kill 
when I command!" 


Manufactured using only top grade mate¬ 
rials and craftmanship. these drums not 
only give Keith Cronin a unique look and 
killer sound, they also stand up nite after 
nrte to the punishment of his musical 
assaults! 

So, don't be left for dead, hire a 

Kill On Command 1 set 
today, your audiences 
will pay you for it! 



Send SI. 
forourcata 

Complete Drum Sets, Snare Drums and Killer Bass Drums. 
Kill On Command Now! can (305) 945-8096,457-9020 

Resurrection Drums, Inc., 2920 S.W. 30th Ave., Hallandale, FL33009 


“My man from DULUTH" 
DICK MOORE 

TEACHER — DRUMMER 

Owner of DRUM QUARTERS 


Mod#I No, 6 "PRO“ DELUXE 
DOUBLE BASS DRUM MODEL 




"Set-the-Pace" Pi DAI PRACTICE PADS 

Ralph C. Poe© 

Box 63, DM, North White Plain*, NX 10603 


s 


cymbal warehouse 


Zildjians, A, K, Z, Amir, 

Scimitar, Brilliants and Platinums 

on stock and ready to ship! 

Wholesale Prices 
Satisfaction Guaranteed 
Call or write for Free Flyer: 

R O. Box 106 • Leechbujg, PA 156S6 412/84MQ88 


110 

























The Pad-5 MIDI Rhythm 
Controller is a drumpad 
tailored especially for the 
home market. The unit 
connects directly to MIDI 
instruments with built-in 
rhythm sound sources, and al¬ 
lows users to perform rhythms 
by hitting the pads with their 
hands or with drumsticks. Five 


pads are positioned on a unit 
that can be held or placed in a 
lap-top position, making it 
easy for anyone to play. The 
Pad-5 could also be useful for 
inputting drum/percussion 
parts on a MIDI rhythm 
machine or sequencer. 

The R-8 Rhythm Composer 
is Roland's top-of-the-line 


□CTAPAD H 



drum machine, offering high- 
quality sampled sounds, 
velocity-sensitive pads, a 
"human feel" function for 
natural-sounding rhythms, and 
extremely sophisticated 
control and editing functions. 
Forty-eight sampled drum and 
percussion sounds are stored 
in the unit's internal memory, 
and a Copy Voice function 
allows users to alter parame¬ 
ters such as Pitch and Decay 
and save an additional 16 
edited sounds. When an op¬ 
tional M-128D ROM card is 
used, 16 more drum and per¬ 
cussion sounds can be saved, 
allowing users to play a total 
of 80 different sounds. 

Roland's T-110 Sampling 
Sound Module is a sample 
playback unit for musicians 
who wish to use sampled 
sounds, but do not have the 
facility or the interest to 
sample their own sounds. The 
unit's front panel features four 
ROM card slots that allow the 
use of up to four optional 
ROM cards at once. With the 


combined use of four ROM 
cards and the internal ROM 
memory, the total memory 
capacity is increased to 32M 
bits (or the equivalent of eight 
S-50 samplers). The 1-110 is 
shipped with 14 different 
sounds stored in the unit's 
16M-bit ROM, including 
acoustic piano, electric piano, 
strings, and rhythm sounds. A 
wide variety of sampled 
sounds will be available on 
optional ROM cards from 
Roland as well as from third- 
party developers. 

Also from Roland are three 
Boss compact mixers. Useful 
as sub-mixers for multiple 
electronic setups or multi-track 
recording mixdowns, the units 
are available in four- (BX-40), 
six- (BX-60), and eight-channel 
(BX-80) versions. Additional 
features increase with the 
larger sizes. 

For information on any Ro¬ 
land product, contact Ro- 
landCorp US, 7200 Dominion 
Circle, Los Angeles, California 
90040-3647. 


THEY LAST LONGER 






•Made of Carbo-Flex 
which features 20 to 
30 times longer life. 
•Does not warp, chip, 
or crack. 

•Absorbs shock. 

•Flex & response 
conforms to close 
grained hickory. 
•Each pair ‘tuned’. 
•Better response on 
cymbals. 

Try a pair today at your 
nearest drum shop or 
dealer—or write to 
MAX-STIKS for your 
free catalog. 

■max- 
stiks are 
the 

greatest?" 
Larrie 
Londln 

Drummers 
Drummer & 
Clinician, 



DiF Products, Inc. 

*735Hidden Hills Dr., Cincinnali, Ohto45230 


SUBSCRIBE 


MODERN 

DRUMMER 

TOLL FREE 

1 - 800 - 
435-0715 

In Illinois Call: 
815-734-4151 

Monday Thru Friday 
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Mastercard and VISA Accepted 


Write or Call for Your 
Free Drum Catalog! 



The Drum Center at Veneman Music 
is proud to present the new 

“Total Percussion Catalog” 

for 1988. We think you'll find this 
catalog represents the most com¬ 
plete collection of drum and percus¬ 
sion equipment available today, and 
all of it atthe absolute lowest prices. 
Mail Coupon for Free Catalog. 


Name .. . _ 
Address 

City_ 

State_Zip 


THE DRUM CENTER 

Of Veneman Music Company 

1 150 Rockville Pike ■ Rockville MD20852 
301 762-5100 


MODERN DRUMMER 


111 



































Mooeiui 
DRummeR 

a great holiday 
gift for your drummer 
friends and relatives 

Shop the Holiday Season from your easy 
chair with a gift subscription to Modern 
Drummer Magazine The best gift you 
can give this year will also be the most 
thoughtful and well remembered. 

At $21,50, each monthly gift costs you only $7.79, 

A gift subscription offers one-stop, hassle-free 
shopping. 

A gift card to the recipient will be mailed in 
your name. 

MD is a great Christmas gift. It's the first step 
to better drumming for every drummer. 

We'll bill you later—or send your gift payment in 
now and we ll send YOU a gift! A copy of MD's 
The First Year (all of MD's first four issues in one 
specially bound edition—a $7,50 value) is yours 
absolutely FREE! 

Take care of your Christmas shopping this 
year by mailing the attached gift card. If 
you need more space for additional names, 
use a separate sheet and send it to us in an 
envelope. 

MODERN DRUMMER... 

The gift that offers a year-round 
reminder of your thoughtfulness 










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PLACE 

STAMP 

HERE 


iVfooeRn 

DRummen 

MAGAZINE 

Sub Services 
PO Box 480 

Mt. Morris, IL 61054-8079 


PLACE 

STAMP 

HERE 


xfooetin 

DRummcR 

MAGAZINE 

Sub Services 
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NEW! 


Bill Bruford ■ 







Transcriptions of Bruford’s greatest 
performances, with Bill’s personal 
commentary and suggested exercises 

MODeRri mummen Publications , Inc. 


The definitive book on 
the drumming of Bill 

Bruford 

• Transcriptions of 18 of 
Bruford's greatest recorded 
performances, including his 
work with Yes, Bruford, King 
Crimson, and Moraz/Bruford, 

• Bruford's personal 
commentary about each piece. 

• Exercises written by Bruford 
to develop facility, flexibility, 
and creativity at the drumset. 


Here are the drum parts played by 
one of rock's most legendary drum¬ 
mers. This book contains transcrip¬ 
tions of ten of Carl Palmer's most 
famous recordings, including "Brain 
Salad Surgery," and "Heat Of The 
Moment," and also includes Carl's 
personal exercises for drumset 
technique. 


RL PALMER 

- .pplied 
Rhythms 


Transcription of Cart s 
greatest performances 
w^i Emerson, lake £ 
Palmer and Asia, 

Cart's personal exercises 
for development of 
dmmsel lechnicwe. 


Publications, Inc . 


The Best Of Modem 
Drummer is jam- 
packed with advice, 
concepts, and tons 
of musical examples, 
and offers a wide 
range of enlighten¬ 
ing and timeless 
information, un¬ 
available anywhere 
else. Information 
that can be referred 
to time and time 
again. It's the perfect 
addition to every 
drummer's library. If 
you've missed any of 
MD, The Best of 
Modem Drummer 
brings it all back 
home—in one 
valuable reference 
book. A must for 


any serious 
drummer. 


„ Over tOO 
Selected Articles 
From A Dozen Of 
MD’s Most Popular 
Departments 


Ed Thigpen 
George Marsh 
Sandy Gennaro 
Carrie Londin 
Rick Van Horn 
. ..AndMany Motv 


Collins 
Stewart Copeland 
Omar Hakim 
Russ Kunkel 
Simon Phillips 
Alex Van Halen 
Charlie Watts 


Charlie Perry 
Jne Morelia 
Neil Peart 


Magadirti 


WHEN 

IN 

DOUBT, 

ROLL! 









YAMAHA DRUMMERS' SHOWCASE 


On August 14th, 1988, at Royce Hall on the campus of U.C.L.A., Yamaha Drums sponsored the company's first Drummers' Show¬ 
case. Featured artists included Alex Acuna, Tommy Aldridge, Bobby Blotzer, David Garibaldi (and his group, Wishful Thinking), and 
Dave Weckl. Other Yamaha artists made guest appearances as well. In order to share this exciting day of music, dialogue, and per¬ 
formance with drummers unable to attend, Yamaha videotaped the Showcase; the tape is slated to be available shortly. 




Ratt's Bobby Blotzer. 


Tommy Aldridge demonstrated his 
famous bare-handed solo 
technique. 




Dave Weckl 


Ralph Humphrey made a guest 
appearance on electronic drums. 



Alex Acuna combined drumset, Latin, 
and other unique sounds in his 
performance. 



David Garibaldi 


SABIAN HONORS HARGROVE 


James V. "Nort" Hargrove, As¬ 
sistant Vice President of Manu¬ 
facturing for Sabian, Ltd., was 
recently honored by that com¬ 
pany with the "Team Player Of 
The Year" award. The award 
was presented to Hargrove in 
special recognition of his 
achievements, commitment, 
and overall contribution to the 
company. 

In pre¬ 
senting the 
award, 

Sabian 
President 
Robert 
Zildjian 
lauded 
Hargrove's 


"highly significant contribution 
to the development and ad¬ 
vancement of Sabian products 
worldwide." Dan Barker, 
Sabian's Vice President of 
Manufacturing, recounted spe¬ 
cifically Hargrove's "extraordi¬ 
nary team play abilities and his 
exemplary cooperation with 
manufacturing personnel, head 
office 
staff, and 
the far- 
flung 
branch 
employ¬ 
ees of the 
Sabian or¬ 
ganiza¬ 
tion." 



(Front row, I. to r.): Craig Gardner, V.P. Finance; Nort 
Hargrove, Asst. V.P. Mfg. (Back row, I. to r.): Edmond 
Bauthier, V.P. Sales, Europe; David McAllister, V.P. Mktg.; 
Robert Zildjian, President; Dan Barker, V.P. Mfg. 


MUSIC EXPO '89 
ESTABLISHES NEW SITE; 
NAMES ADVISORY BOARD 


Music Expo '89, designed to be 
the world's largest showcase 
for music and music-related 
products, will be held May 12- 
14, 1989 at The Pasadena 
Center in Pasadena, California. 

Originally scheduled for 
spring of 1988, the Expo has 
been moved to The Pasadena 
Center because the size and 
diversity of the venue make it a 
better facility for the myriad 
activities envisioned by the 
show's promoters. The three- 
day event will host over 200 
manufacturer and vendor 
exhibits in a trade show format 
structured for consumers. 

An advisory panel has been 
created to provide additional 
input to the directors of the 
Expo. Composed of noted 


members of both the musical 
instrument and entertainment 
industries, Music Expo's advi¬ 
sory board has been instru¬ 
mental in helping shape and 
format the overall structure for 
this inaugural consumer expo¬ 
sition. Notable individuals 
from the percussion industry 
named to the board include: 
Pat Brown, National Sales 
Director, Pro-Mark Corpora¬ 
tion; James Cooper, President, 
J.L. Cooper Electronics (makers 
of the Cooper Soundchest); 
and Rick Van Horn, Managing 
Editor of Modern Drummer 
Magazine. 

Further information on 
Music Expo '89 may be 
obtained by contacting Musex, 
Inc., 723 1/2 N. La Cienega 


116 


MODERN DRUMMER 












Only Yamaha Could Build 
Affordable Drums Like These . 



"Affordable" is relative. To 
someone like Tommy Aldridge or 
Bobby Blotzer, it means the bes* 
drums money can buy because 
they have the big time budgets 
to afford if. 

To you, "affordable" proba¬ 
bly meant cheap. 'Till now. 
Introducing Power V. Proof that 
>bmoha cares enough to give 
you real drums instead of stuff 
that won't lost out the year. 


Suift to fhe same quality standards 
and specifications Yamaha drums 
must meet. Power V features 9 
ptys of choice Philippine mahogany 
for a powerful and musical sound 
unmatched in its class. 

You con see it in the finishes 
and hardware. You con feel it in 
the shells. Most of ail you can 
hear it in the rock-solid power 
and projection built into every 
Power Vdrum. 



Tammy A Jd:tdg* Jkiftby BJa-fltr 


We challenge you to find 
better drums of these prices. 
Thot's why Tommy and Bobby 
recommend Fewer V os the 
finest quality "affordable" 
drums anywhere , 


'frnn-jhci .’ViLisjc Corpoj-o/kui, USA, Ofum4, Gvita's, Amplifier* DbfHiun t 
6600 Qrnngeffiprpe Awe., PrtrJfc, CA 


YAMAHA 




Boulevard, Los Angeles, California 90069, 
or by calling (213)659-0701. 

SUMMER 
DRUMSET 
WORKSHOPS 
SUCCESSFUL 
IN 1988 

The annual Summer Drumset Workshops 
sponsored by Capital University of 
Columbus, Ohio were held, as usual, on 
the University's campus. However, for the 
first time, additional workshops were also 
held at the University of Utah, in Salt Lake 
City. 

The workshops, now in their ninth year, 
were attended by students from 16 states, 
all involved in the intensive five-day 
course. That course included classes in 
drumset history, basic musicianship, 
technique, reading, drumset styles, and 
fundamentals of drum machine program¬ 
ming and application. In addition, all 
students received both group and private 
lessons as well as the opportunity to be 
videotaped while performing with a 
rhythm section. 

The workshop director, Robert Breit- 
haupt (Associate Professor of Music at 


Capital University), was joined by Guy 
Remonko (Associate Professor of Music at 
Ohio University), Steve Houghton 
(percussion instructor, Percussion Institute 
of Technology, Hollywood), and Ed Soph 
(faculty member, University of North 
Texas). Doug Wolf was the host at the 
University of Utah. The workshops re¬ 
ceived support from the Yamaha Drum 
Company and the Sabian Cymbal 
Company. 

Next year's dates for the Capital 
workshop are June 12-16, 1989. The 
workshop at the University of Utah will 
be held July 17-21, and a third workshop 
is being planned, with location and dates 
to be announced at a later date. For 
further information, contact Robert 
Breithaupt, Associate Professor of Music, 
Percussion Department, Capital Univer¬ 
sity, Columbus, Ohio 43209. 

ENDORSER NEWS 

Larrie Londin has recently signed as an 
endorsing artist for Drum Workshop 
drums, in addition to his existing status as 
a DW pedal endorser....Def Leppard's 
Rick Allen and Europe's Ian Haugland are 
now both using ddrum electronic drums 
exclusively....Canadian studio star Barry 
Keane has been added to the list of Pro- 
Mark endorsers....Aquarian Industries 
recently announced that Whitesnake's 


Tommy Aldridge is using and endorsing 
Aquarian's new drumhead line....Sabian's 
artist roster has been expanded with the 
addition of Jean Paul Ceccarelli (formerly 
of Sting's band), Kelly Keagy (Night 
Ranger), Cornell Rochester (Josef Zawinul 
Syndicate), Charly Alberti (Soda Stereo), 
Steve Clarke (Fastway), Steve Kellner 
(Fischer Z), Tom Rivelli (Randy Travis), 

Kim Weemhoff (Funky Stuff), Ron Pang- 
born (Was [Not Was]), Kevin McCloud 
(Jack Mack & The Heart Attack), Frank 
Bellucci, and Jojo Mayer (Depart and 
Stiletto)....Drummers currently endorsing 
Beyerdynamic's Percussion Croup micro¬ 
phones include Peter Erskine, Steve 
Ferrera, Jerry Marotta, and Gerry 
Brown....Ricky Lawson is using the Akai 
S900 sampler on Michael Jackson's Bad 
tour. 


REPRINTS of most 
MD Feature Articles 



and columns ARE 
available! Call the 


office for a 



price quote 



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118 


MODERN DRUMMER 






































Labor of Love 



Sendforjree course Cdtalog. Percussion Institute of Technology 

JMEKS Musicians Institute 1655 McCadden Place . Box 375 
JUBMj Hollywood, California. (213)462-1384 






In our continuing effort to maximize the value of Modem 
Drummeras a reference tool, the editors of MD are pleased to 
offer this 1988 Index Update. The listings presented here are a 
guide to virtually all of the biographical, educational, or special- 
interest information presented in Modem Drummer in the past 
year. Information presented in Modem Drummer issues dated 
1986 or earlier is indexed in MD's Jen-Year Index (which was 
presented in the December 1986 issue). Year-end indexes were 
established in December of 1987, and will continue as a regular 
feature in the future. 

The format for the index varies somewhat, according to the 
information being presented. For example, the names on the 
Artist Reference List and Industry Personality Reference List are 
presented alphabetically, followed by coded information showing 
where any biographical or educational information pertaining to 
each person named might be found. In other words, you should 
be able to look up your favorite drummer and immediately see 
where anything MD published about that drummer in 1988 may 


be located. You'll also be informed as to whether that drummer 
has written any columns for MD, and if so, in which column 
departments you should look them up. 

Unless otherwise noted in their headings, the column depart¬ 
ments are indexed alphabetically by the author's last name. In this 
way, you can check out "everything written by" your favorite 
columnist in 1988. Notable exceptions are Drum Soloist and 
Rock Charts, which are indexed by the artists' names—as are the 
reviews in On Track, On Tape, and Printed Page. Product 
reviews—regardless of the column in which they appeared—are 
listed alphabetically by manufacturer or product name in the 
Product Review Columns section. In this way, you can quickly 
find out what our reviewers thought of any particular piece of 
equipment simply by looking up the item by name. 

It is our hope that the manner in which we have organized our 
Index Update will make it easy to use, so that you can have quick 
and easy access to the wealth of information presented in MD's 
pages over the past year. 


The parenthetical abbrevia¬ 
tions indicate where informa¬ 
tion on (or authored by) a 
given artist may be found. (In 
the case of the Product Review 
Columns, the abbreviations 
indicate where information on 
a given product may be found.) 
With the exception of (F), all 


abbreviations refer to column 
or department titles. 

(A) = Ask A Pro 

(AW) = Around The World 

(B) = Basics 

(ER) = Electronic Review 
(F) = Major Feature Interview 
(FP) = From The Past 
(IH) = Industry Happenings 


(IM) = In Memoriam 
(IS) = In The Studio 
(JDW) = Jazz Drummers' 
Workshop 

(KP) = Keyboard Percussion 
(NN) = NewAnd Notable 
(OP) = Orchestral 
Percussionist 
(P) = Portraits 


(PCU) = Product Close-Up 
(RJ) = Rock 'N' Jazz Clinic 
(RP) = Rock Perspectives 
(SU) = Setup Update 
(SDS) = Show Drummers' 
Seminar 

(SB) = South Of The Border 

(U) = Update 

(UC) = Up And Coming 



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How does it soundt 
Results from 1 /3 octave audio speetrun 
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in the high end 0 n snarc5 and 6dft^^ 
than, alt our‘co.mpetitors'f''|j^J^Jr 
increasing a 100 watr <mjjrjrl 
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120 


MODERN DRUMMER 























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□ #63—JANUARY 1985 

Alan While, SheNy Manne, Qitie @fowfi, 
Mick Mason. 

#84—FEBRUARY 1985 
MaF Lawts, Mark Sr?aiiclii. Mick A*Gry r 
Instil- Nfeinl, 

#65—MARCH 1905 
Roger Taylor (Quran Dur#f^. English 
Reggae, Jon Von Ohlen r Inside Premier. 

#65—-APRIL 19&5 
Sty Dunfcar, Steve Schaeffer, Chico 
Ha-millon, Gottng VourDnum S-sok 
Published. 

#67—MAY 1935 

Alan Dawson. Sieve Ferione, David 
Robinson h D J Fontana. 

UWE1985 

Steve Jordan. Drum Equipment: A New 
Look. Mickey Cufry, J&rry Allison. 

#69—JULY 1985 

Rod Morgenstein, Kenny MaJkme. 1985 
Reenters Poll Winners. 

#7D—AUGUST 1WS 
Larry Mullen, Jr., George Grantham, 
Inside Sonor. 

#71—SEPTEMBER 196$ 
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Soph. 

#74—DECEMBER 1985 

Tctiy Thompgon. Nicko McBrain, Paul 
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#75—JANUARY 19E36 
MD's 10m Anniversary issue. 1st MD 
Sound Supplemnnh Studio Drum Sounds. 
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Roy Haynes, A.J Fero, Jimmie Fadden, 
David Caiarco. 

#77—MARCH 1936 
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#79—APRIL 1996 

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#79—MAY 19&E 

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#0JUNE 1986 

Kenny Ano-noif Adam NusSbaum, Jca 
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ment: Focus On Hi-Hat by Peler Ershlne. 

#01—JULY t986 

B%Gobham, TicoTorres, Jefl Hamilton, 
Readers Poll R&suN$. 


□ #82—AUGUST 1966 

Steva Smith, BiitGibscn, Joe Franco, 
Tfifry Bfiz2 ift: Style A Analysis. 

#88—SEPTEMBER 1986 
Tommy Lee. Bun E. Carlos. Jerry 
Garrigan Ben Ritey. 

#34-—OCTOBER 1986 
Dave Weckl r Bobby Blotter, Debbi 
Peterson, Staying in Shape: Pan 1. 

#35— NOVEMBER 1938 
Joe Morelia, David Uosikkinen, 
Barnemore Bartow, Staying In Shape: Part 2. 
#H— DECEMBER 1986 
Simon Philips, Dave Holland Industry 
Insights With Remo Belli, MD 10-Year Indux. 
#37—JANUARY 1987 
Gregg fljssonette. Gary Husoand. Rod 
Morgenslein Sound Supplement, 

#88—FEBRUARY 1987 
Anton Fig, Connie Kay. Jerry Krt>on. New 
York's High School: Of The Arts. 

#99—MARCH 1987 
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Drummers: Pan 2 r Inside Pno-Mark. 

#90— MAY 1987 {Without Sound 
Supplement) Uinnie Colamta, Stan 
Levey, Music Medicine, tel Peart Sound 
Supplement. 

n #91—JUNE 1 &B7 

J.R. Robinson, Lars Ulrich, Ricky 
Lawson. Inside PJX 
#92- JULY 1957 

Pot&r Erskino, Anion Fig, Drummers of 
West Gonmany, Close- upn on Drumsticks. 
#93- AUGUST 1957 
Buddy Rich Tribute, Mike ©gird;. 

Tom Brethfiein 1987 Pleaders Poll Results. 
#95- SEPTEMBER 1937 
Rick MarofTa. Sieve While. Gary 
Burfte, flamtolscing with Bilf Ludwig 
#36 OCTOBER 1937 
Narada Michael Warden, Al Jackson, 

Neil Peart Contest Resets, Dave Week! 
Sound Supplement 

#97- NOVEMBER 1937 
Randy Castillo. Curl Crass, Christian 
Drummers: Part L 

#93- DECEMBER 1987 
Mann Katehe'. Steve Houghion, 
Drumming At Disney World, I9G7 MD index. 
#99- JANUARY 1938 
Phi^ Gould r Richie Morals. Chick. 

Webb, Drumming £ Relationship*. 

#131- MARCH 1988 
Rjc^AHen Richie Hayward, The 
Graceland Drummers, Stryper's Robed 
Sweet. 


□ #102- APRIL 1988 

Danny Gottlob. Alan Childs, The 
Downtown Drummer*. MD Visits 
Drummers Collective. 

#103- MAY 1988 
David Van Tieghem, BMI Berry 
Charge Senate r The Cavaliers. 
#104- JUNE 1988 
Tommy Abridge, Ralph 
Humphrey, Luis Conte. Drummers 
in the Business Wofld. 

#105- JULY 19BB 
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Vega, M*ck Brown, Greg Bissooette 
Sound Sheet. 


MODERN 

PERCUSSIONIST 

MAGAZINE 


□ #1—DECEMBER 193# 

Gaty Burton, Jamas Blades. Brazilian 
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#2—MARCH 1936 

Emil Richards, Bobby Hutcherson, Carol 
Steele. Ralph Hartfimor. 

#3—JUNE 1985 

Nexus, Dais Anderson, Fred Sandord. 

Ray Darrsito. 

^--SEPTEMBER T995 
Ralph MacDonald, Qariiefd Cadets, Chris 
Lamb. Guatemalan Marimbas. 

#&—December ms 

David Friedmnn, Jimmy Maulen, Karen 
Ervin Pershing. Jay Wanamakef. 

#6—MARCH 1936 
Star Of Indiana, Ray Cooper. Fred 
Hinger. Earl Hatch. 

#7—JUNE 1986 

M*ke Maimeri, Repercussion Unit, Tom 
Floal. Ray Mantilla 

#8—SEPTEMBER 1936 
Manolo Badrena. Keiko Ab&, William 
Ktall. Ward Dunett. 

#9—DECEMBER 1935 
Dave Samuels, World Drum Festival. 

Ken Watson. Q.C.I. Solo ConteSL 
#10—MARCH 1937 
Doug Howard. Reggae Percussion, Jim 
Jones, Create Career 
#11^JUNE 1987 

Spirit CH Atlanta, Dave Samuels Sound 
■Supplement, rnlokGurtu, CalArts 
#12—SEPTEMBER 1937 
Milt Jackso-n, Sue Hadjopdijtae, Trie 
President's Percussionists, Al LeMert. 


















































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ARTIST REFERENCE LIST 


-A- 

AIRTO, (F) Sep. ’88 (cover) 

ALDRIDGE, Tommy (F) Jun. '88 (cover) 
ALEXANDER, Mousey (P) Nov. '88 
ALLEN, David (U) Nov. '88 
ALLEN, Rick (F) Mar. '88 (cover) 
APPICE, Carmine (A) Oct. '88 
ASANTE, Okyerema (F) Mar. '88 ("The 
Graceland Drummers") 



BAUDUC, Ray (IH) Jun.'88 
BELLSON, Louie (A) Jan. '88 


BENANTE, Charlie (F) May '88, 

(A) Dec. '88 

BENNETT, Samm (F) Apr. '88 ("The 
Downtown Dozen") 

BENTON, Tom (U) Sep. '88 
BERRY, Ala (Terry Hall) (U) Mar. '88 
BERRY, Bill (F) May '88 
BISSONETTE, Gregg (U) Jun. '88 
BLAIR, Michael (U)Aug. '88 
BONHAM, Jason (U) Sep. ’88 
BOUCHARD, Albert (F) Oct. '88 
BOWLER, David (UC) Sep. '88 
BOZZIO, Terry (A) Feb. '88 
BROCK, Jim (U) Feb. '88 


BROWN, Vanessa (U) Jul. '88 
BROWN, "Wild" Mick, (UC) Jul. '88 
BURKE, Gary (U) Dec. '88 
BUTOV, Gennadi (OP) Apr. '88 

= € = 

CARMASSI, Denny (F) Feb. '88 (cover), 
(A) Dec. '88 
CARR, Eric (A) Aug. ’88 
CAVALIERS, The (F) May '88 
CHILDS, Alan (F) Apr. '88 
CONTE, Luis (F) Jun. '88 
CREASON, Sammy (U) Apr. '88 
CURRIE, Allannah (U) May ’88 


= © = 

D'ANGELO, Greg (U) Jul.'88 
DAVIES, Cliff (A) Apr. '88 
DAVIS, Carlton "Santa" (P) Feb. '88 
DESBROW, Audie (U) Aug. '88 
DeGANON, Clint (U) Sep. '88 
DeVITTO, Liberty (F) Jul. '88 (cover) 
DITTRICH, John (F) Aug. '88 
"Downtown Dozen, The" (F) Apr. '88 
(Bennett, Gabay, Kazamaki, Kimoto, 
Linton, Miller, Mori, Moss, Mussen, 
Noyes, O'Looney, Zeldman) 

DUFFY, AI(IH)Jul.'88 
DUPIN, Tom (P)Apr. '88 

FARRISS, Jon (F) Oct. '88 (cover) 
FERRERA, Steve (F) Aug. '88 
FIG, Anton (A) Oct. '88 
FONGHEISER, Denny (U) Dec. '88 
FRANCO, Joe (A) May '88 
FRANTZ, Chris (U) Nov. '88 
FUSTER, Francis (F) Mar. '88 ("The 
Graceland Drummers") 


GABAY, Yuvall (F) Apr. '88 ("The 
Downtown Dozen") 

GARISTO, Paul (U) Mar. '88 
GOTTLIEB, Danny (F) Apr. 88 (cover), 
(A) Jun.'88 

GOULD, Phil (F) Jan. '88 (cover) 
"Graceland Drummers, The" (F) Mar. 
'88 (Asante, Fuster, Mtshali) 
GRATZER, Alan (A) Jul. '88 
GRIFFIN, Rayford (F) Nov. '88 
GROVER, Neil (P) Dec. '88 

HALE, Jeff (U) Apr. '88 
HAMMOND, John (P) May '88 
HAMMOND, Mark (P) May '88 
HAMPTON, Lionel (F) Dec. '88 
HANSON, Michael (U)Aug. '88 
HARNER, Bud (U) Jun.'88 
HARTMAN, John (U) Jan. '88 
HAYWARD, Richie (F) Mar. '88 
HEARD, J.C. (P) Jun. '88 
HELM, Levon (U) Jan. '88 
HISEMAN, Jon (A) Jul. '88 
HOSSACK, Michael (U) Jan. '88 
HUMPHREY, Ralph (F) Jun. '88 
HUSBAND, Gary (U) Oct. '88 

JONES^Casey (U) May '88 
JOYCE, Chris (U) Jan. '88 

-K — 

KANAREK, Marvin (U)Aug. '88 
KAZAMAKI, Takashi (F) Apr. '88 ("The 
Downtown Dozen") 

KELTNER, )im (U) May '88 
KIMOTO, Kumiko (F) Apr. '88 ("The 
Downtown Dozen") 

KNUDSEN, Keith (U) Jan. '88 
KRAMER, Joey (F) Aug. '88 (cover) 
KURASHOV, Anatoli (OP) Apr. '88 

-IL = 

LaKIND, Bobby (U) Jan.'88 
LAVIS, Gilson (F) Sep. '88 



Few professionals have more 
experience miking drums than 
Danny Semphine of “Chicago? 
Thatl why Danny selected 
the Shure SM9S Miniature 
Condenser Mic with its revolu¬ 
tionary new supercardioid 
Polar Modifier* to solve his 
toughest miking problems. 

The unique A98SPMPolar 
Modifier con verts the SM98 
pickup pattern from cardioid 
to supercardioid, giving you 
the flexibility of two mics in 
one to cover virtually any 
instrument miking situation. 
When used on drums, it elimi¬ 
nates bleed from adjacent 
drums and cymbals, and can 
handle exceptionally high SPLk 

Whether you've already 
made it. or you 're still on the 
way up, choose the mics the 
great artists choose—Shure. 
'Built to the highest standards 
of reliability and performance , 


CHOOSE YOUR 
MICROPHONE THE 
WAY DANNY 
SERAPHINE DOES. 

AS IF YOUR 
CAREER 
DEPENDED 
ON IT. 


* Patent Pending 


THE SOUND OF THE PROFESSIONALS'.. .WORLDWIDE 


122 


MODERN DRUMMER 







As good as it gets 




ATO 



P.O. Box 725 - 
(213) 532-267 


photo by FERNANDEZ photo by ZIOZOWER 


















LAY, Sam (P) Mar. '88 
LeBLANC, Keith (P)Jul.'88 
LINTON, David (F) Apr. '88 ("The 
Downtown Dozen") 

LUCAS, Moyes, Jr. (U) Mar. '88 
LUCCKETTA, Troy (A) May '88 
LYNCH, Stan (A) Jan. '88 



MARCHICA, Ray (SDS)Aug. '88 
(author: (SDS)] 

MARSH, George (U) Jan. '88 [author: 
(SDS)] 

MARY, Ken K. (U)Jul.'88 
MCBRAIN, Nicko (A) May '88, (A) Nov. 
'88 

McCRACKEN, Chet (U) Jan. '88 


MERJAN, Barbara (P) Oct. '88 
MIKHALIN, Viktor (P) Aug. '88 
MILES, Buddy (F) Sep. '88 
MILLER, Mark (F) Apr. '88 ("The 
Downtown Dozen") 

MORALES, Richie (F) Jan.'88 
MORGAN, Charlie (F) Oct. '88, (U) 
Feb.'88 

MORI, Ikoue (F) Apr. '88 ("The 
Downtown Dozen") 

MOSS, David (F) Apr. '88 ("The 
Downtown Dozen") 

MTSHALI, Isaac (F) Mar. '88 ("The 
Graceland Drummers") 

MULLEN, Larry, Jr. (A) Feb. '88 
MUSSEN, Jim (F) Apr. '88 ("The 
Downtown Dozen") 

MUZZY, John (U) Feb. '88 



NEVITT, Stuart (F) Feb. '88 
NOYES, Charles K. (F) Apr. '88 ("The 
Downtown Dozen") 

NUSSBAUM, Adam (U) Apr. '88 



O'LOONEY, Katie (F) Apr. '88 ("The 
Downtown Dozen") 

OWENS, David (U) Dec. '88 

— IP=* 

PEART, Neil (A) Jun. '88 [author: (RJ)] 
PERRY, Doane (U) Jun. '88 
PLAINFIELD, KIM (A) Sep. '88 


PORCARO, )eff (F) Nov. '88 (cover) 
PORTINHO (P) Jan. '88 
POWELL, Cozy (A) Sep. '88 
PRED, Dan (U) Oct. '88 
PREVITE, Robert (U) Mar. '88 

RAMONE, Marky (U) Nov. '88 
RAREBELL, Herman (U) Sep. '88 
REID, Steve (U) May '88 
RICHMOND, Dannie (IH) Oct. '88 
ROACH, Max (U) Dec. '88 
ROBINSON, David (U)Jun. '88 
ROCKENFIELD, Scott (A) Jan. '88 
ROCKETT, Rikki (F) Nov. '88 
ROSENBLATT, Joel (UC) Feb. '88 




SANTOS, John (U) Dec. '88 [author: 
(SB)] 

SCHOCK, Gina (U) Nov. '88 
SCHWARTZBERG, Allan (F) Dec. '88 
SEAMEN, Phil (FP)Jan. '88 
SHAUGHNESSY, Ed (A) Nov. '88 
SLAWSON, Brian (KP) Jun. '88 
SMITH, Marvin "Smitty" (A) Aug. '88 
SPENCER, Julie (P) Sep. '88 
STAPLES, Benny Lee (U) Oct. '88 
STINSON, Harry (F) Feb. '88 
SWEET, Robert (UC) Mar. '88 

= ?= 

TOUGH, Dave (F) Sep. '88 
TUTT, Ron (F) Jul. '88 

=y= 

ULRICH, Lars (A) Mar. '88 

= ¥ = 

VAN TIEGHEM, David (F) May '88 
(cover) 

VEGA, Carlos (F) Jul.'88 
VELEZ, Glen (AW) Sep. '88 
VITALE, Joe (U) Feb. '88 
VON BOHR, Manni (U) Oct. '88 



WACKERMAN, Chad (F) Dec. '88 
(cover), (A) Apr. '88 
WEBB, Chick (F) Jan.'88 
WECKL, Dave (A) Aug. '88 
WEINBERG, Max (U) Jan. '88 
WERTICO, Paul (A) Oct. '88 
WHITE, Alan (A) Sep. '88 
WORTMAN, Kurt (UC) Oct. '88 

=^,Y.2= 

ZELDMAN, Peter (F) Apr. '88 ("The 
Downtown Dozen") 


REPRINTS of most 
MD Feature Articles 
and columns ARE 
available! Call the 

office for a 
price quote 



MODERN DRUMMER 















INDUSTRY 
PERSONALITY 
REFERENCE LIST 

This list contains names of individuals 
known primarily as teachers or manu¬ 
facturers. 

Beato, Fred (F) Jun. '88 ("Self-Made 
Men: Drummers In The Business 
World") 

Duffy, AI(IH)Jul.'88 

May, Randy (F) Jun. '88 ("Self-Made 

Men: Drummers In The Business 

World") 

Stobie, Mike (F) Jun. '88 ("Self-Made 
Men: Drummers In The Business 
World") 

MISCELLANEOUS 

FEATURES 

Business/Career Features 

"Personal Relationships"—Jan. '88 

Health And Science Features 

"Beating Drums, Beating Disabilities"— 
Mar. '88 

Historical Features 

"MD Index Update"—Dec. '88 
"On The State Of The Industry"—MD 
Equipment Annual, Jul. '88 


Readers Poll Results 

1988 Readers Poll—Jul.'88 

Schools/Education Features 

"Drummers Collective Roundtable"— 
Apr. '88 

"Drums On Campus" (Univ. of Miami, 
Berklee College of Music, and N. Texas 
Univ.)—Nov. '88 

Sound Supplements 

"Neil Peart Contest Winners" (Hess, 
Killius, and Feldman)—Feb. '88 
"Gregg Bissonette Drum Solos"—Jul. 

'88 

COLUMNS 

Around The World 

Brooks, Clive, "African Cross- 
Rhythms"—Feb. '88 

Basics 

Pfeifer, Jim, "Power Beats For Beginners: 
Part 1 "—Mar. '88, 

"Power Beats For Beginners: Part 2"— 
Apr. '88, 

"Power Fills"—Jun. '88, 

"Heavy Metal Power Fills: Part.1"—Sep. 

' 88 , 

"Heavy Metal Power Fills: Part 2"—Oct. 
'88 

Rager, Chad, "Creative Practicing"— 
Aug. '88 


Club Scene 

Van Horn, Rick, "Periodic Checkups"— 
Jan. '88, 

"Adapting"—Feb. '88, 

"Ergonomics"—Apr. '88, 

"The Whole Package"—Jun. '88, 
"Regulars And Followers"—Aug. '88, 
"Maladies & Remedies"—Sep. '88, 
"How Much Do You Know?"—Oct. '88, 
"Out Of The Dark"—Nov. '88, 

"Stocking Stuffers II"—Dec. '88 

Concepts 

Burns, Roy, "Confidence"—Jan. '88, 
"Practicing And Balance"—Feb. '88, 
"Originality"—Mar. '88, 

"Drum Teachers"—Apr. '88, 

"Praise And Criticism"—May '88, 

"Time"—Jun. '88, 

"Teaching Yourself'—Jul. '88, 

"Doing Your Best"—Aug. '88, 

"Practicing And Fun"—Sep. '88, 
"Limitations"—Oct. '88, 

"Visual Learning"—Nov. '88, 

"Trusting Your Own Ideas"—Dec. '88 

Corps Scene 

DeLucia, Dennis, "More Flim-Flams"— 
Mar. '88, 

"Who Are These People, Anyway?"— 
Jun. '88, 

"From The DrumsetTo The Drum 
Corps: Part 1 "—Oct. '88 

Driver's Seat 

Graham, Gil, "Mastering The Fill"— 
Nov. '88, 

"Solo Fills And Figures"—Dec. '88 


Shaughnessy, Ed, "Matching Drum 
Sounds To Big Band Figures"—Jan. '88, 
"Big Band Reading"—Mar. '88, 

"What Do They Want In A Drum¬ 
mer?"—May '88 

Drum Soloist 

(Alphabetized by artist, not transcriber) 
Blakey, Art, "Exhibit 'A"'—Jui. '38 
Brown, Gerry, "The Dancer" (intro)— 
Nov. '88 

Colaiuta, Vinnie, "Too Hip For The 
Room" (intro)—Nov. '88 
Gadd, Steve, "Up Close" Video Solo— 
Feb.'88 

Heath, Albert, "In Walked Horace"— 
Apr. '88 

Mason, Harvey, "Ragtown" (intro)— 
Nov. '88 

Roach, Max, "Jordu"—Sep. '88 

Electronic Insights 

Bergeron, Jon, "Studio Sounds On A 
Budget"—Nov. '88 

Fiore, Jim, "Protecting Your Gear From 
AC Power Monsters"—Feb. '88, 

"MIDI Effects Devices"—Apr. '88 

Lowig, Bob, "Choosing A Mic' For 
Acoustic Drums"—Oct. '88 

Mann, Ed, "The Frequency Spectrum 
And Monitoring"—Mar. '88 

Mater, Bob, "Threshold Of A Drum"— 
Jun.'88 


Instructional Features 

"The World Of Drum Corps"—Aug. '88 

Manufacturer/'lnside..." Features 

"Inside UFIP"—Oct. '88 


VATER 

PERCUSSION 

Quality Custom Label Drumsticks 
STORE NAME'S AND LOGO S 
Tel, # 617-767-1877 FAX: 617-767-0010 
PLEASE SEE CLASSIFIED 




Berklee 
Graduate 
Active 
Performer 
in Boston 


NATL & REGIONAL AVAILABILITY 
Highly recommended by: 
Kenwood Dennard (Sting) 
Keith Cronin (Pat Travers Band) 


(617) 647-4875 
(609) 921-8969 


Also available for Drum Instruction in Boston 



MODERN DRUMMER 


125 


























Rhodes, Larry, "Harvey Warner: A 
Serious Electronic Percussionist"—Jul. 
'88 

Weinberg, Norman, "Custom Creating 
Your Own Drum Sounds"—May '88 

Equipment Reference Charts 

MD Editors, "Product Reference Chart," 
MD Equipment Annual —Jul. '88 

Health & Science 

Alpert, Brian, "Playing Loud And 
Staying Healthy"—Aug. '88 

Stromfeld, Dr. )an I., "Holistic Help For 
Drummers' Injuries"—Jun. '88 

Van Horn, Rick, "A Conversation With 
Dr. Robert Litwak"—Feb. '88 


In The Studio 

Krampf, Craig, "Studio-Ready Drums"— 
)an. '88, 

"Dealing With Studio Acoustics"—Feb. 

' 88 , 

"Mic'sAnd Engineers"—Mar. '88, 
"Bringing Up The Faders"—Apr. '88, 
"Tips From A Recording Engineer"—Jun 
' 88 , 

"Getting A Drum Sound"—Jul. '88, 
"Drums, Bass, And Time Feel"—Sep. 
' 88 , 

"The Headphone Mix"—Nov. '88, 
"Session Rehearsals"—Dec. '88 

Jazz Drummers' Workshop 

Erskine, Peter, "Meeting A Piece Of 
Music For The First Time"—Jan. '88, 
"Ensemble Playing"—Feb. '88, 

"Phrases And Bar Lines"—Apr. '88, 


"Composing And Improvising"—Jun. 

' 88 , 

"Samba Rhythms For Jazz Drummers"— 
Sep. '88, 

"Samba Variations"—Oct. '88, 
'"Erskoman"'—Dec. '88 

Keyboard Percussion 

Samuels, Dave, "The Outer Gate"—Apr. 
' 88 , 

"Using The New Technology"—Aug. 

'88 

Tachoir, Jerry, "Recording The 
Vibraphone"—Feb. '88 

Listener's Guide 

Gauthier, Mark, "Buddy Rich" 
(Discography)—Jan. '88 


Lewellen, Russ, "Vintage Jazz For 
Drummers"—May '88 

Master Class 

Cirone, Anthony)., "Portraits In 
Rhythm: Etude #10"—Ian. '88, 
"Portraits In Rhythm: Etude #11"—Mar. 
' 88 , 

"Portraits In Rhythm: Etude #12"—May 
' 88 , 

"Portraits In Rhythm: Etude #13"—Jul. 

' 88 , 

"Portraits In Rhythm: Etude #14"—Sep. 

' 88 , 

"Portraits In Rhythm: Etude #15"—Nov. 
'88 

MIDI Comer 

Fiore, |im, "Playing Drum Machines 
With Drumsticks"—Oct. '88 



Putting It ! 
AH Together 





I Drumming 
Concepts 


2 one-hour 
Audio Cassettes 


AJso the Red Merge n stein 

MASTER SESSION 

Includes the following three sessions; 

Grooving In Styles / Filling In the Holes 
Odd Time 
Double Bass 

Each session contains 2 ooe-hour cassettes and book 
Also sold i n d ivrd u ally 


Rod Morgenstein 


"Morgensleln offers o wealth of instructional materi- 
al on such topics as versalility. ghost strokes, odd 
Time, double bass and coming up wilh drum ports. 
Th© informal ion is presented in a clear, organized 
forma t and l<od doesn't forget that drumming is sup¬ 
posed to be fun! If you need a shot of Inspiration — 
this is on© to see! J 

Rick Mattingly 

Modem Drummer Magazine 

Lots of ploying, 'bn screen 1 ' musical notation and 
special appearance by Sieve Morse band bassist 
Jerry f^eek. All levels. 


DANNY GOTTLIEB 


These tapes are the closest thing lo private lessons 
that i have yet encountered, I listened tolhem in the 
car and it was like having a friend sitting next to me 
discussing drums. There is a good balance be 
tween spoken word ond playing, These tapes or© 
c ra mmea wilh Id eas a nd concepts, a ntf the retore 
stand up well to repeated listening!' 

Richard Fgorf 

Modem Drummer Magazine 


”1 sincerely recommend Rod's teaching program. It 
I s full of voiua ble concepts sk i 1I f u I ly demons! rated. 
I was listening to Grooving in Styles on a long drive 
from Montreal to Toronto and when I got home 
worked out two new patterns based on ideas 
gained from insights. All In All an excellent 
learningald - well worth the price of admission!' 

Neil Peart 


Need 
We Say 
More... 


ROD MQRGtNSTEiN • WfOfO * Putting it All Together . $39.95 D 

VMS □ BETA □ 

DANNY GQTTUEB ■ AUDIO ■ Drumming Concepts . $21.95 O 

ROD MORGiNSTBN * AUDIO * Master Sess/ort fa $15 sovfrigstf.$5996 O 

A. Grooving in Styles/Filling in the Notes .$24.95 □ 

B. Odd Time .. $2495 □ 

C Double Boss . $2495 □ 

Pieose odd the correct amount for shipping ond handling: 

as. and Canocfa - VIDEO ...$400 □ 

AUDiO . $3.00 Q 

Overseas Surface - VfDEQ or AUDtQ . $400 □ 

Overseas Airmail * ViDEO or AUDIO . $900 □ 

* NEW YORK RESIDENTS MUST ADD 8% SALES TAX * 

A1SO AVAILABLE AT SRfC7H> DEAHRS 
Send check or monoy order (US. Dollars O nty) to. 

BAMQ * Pa BOX 13 • PtAiNViEW. NY ■ 11803 ■ (718) 7084009 
Ptease allow 46 weeks tor delivery in the US 


On Tape 

(Reviews alphabetized by artist, not by 
reviewer) 

Aldridge, Tommy, Rock Drum Soloing & 
Double Bass Workout (video)—Aug. '88 
Aronoff, Kenny, Laying It Down 
(video)—Aug. '88 

Castillo, Randy, Star Licks Master Series: 
Randy Castillo (video)—Jan. '88 
Gottlieb, Danny, Drumming Concepts 
(audio)—Aug. '88 

McCracken, Chet, Star Licks Master 
Series: Chet McCracken (video)—Jan. 

'88 

Olatunji, Babatunde, Olatunji And His 
Drums Of Passion (video)—Aug. '88 
Petrillo, Pat, Snare Drum Rudiments 
(video)—Jan. '88 

Smith, Steve, Steve Smith Part One 
(video)—Jan. '88 

Tachoir, Jerry, Master Study Series, Vol. 

1 (video)—Aug. '88 
Various Artists (Eddie Bayers, drums), 
Play With The Pros (play-along audio)— 
Jan.'88 

Various Drummers (Acuna, Campbell, 
Cobham, Colaiuta, Gadd), Zildjian Day 
In New York (video)—Jan. '88 
Weckl, Dave, Contemporary Drummer 
+ One (audio)—Aug. '88 
Wertico, Paul, Fine Tuning Your Drum 
Performance (video)—Jan. '88 

On Track 

(Reviews alphabetized by artist, not by 
reviewer) 

Aerosmith, Permanent Vacation —Mar. 
'88 

Blakey, Art, Theory Of Art — Mar. '88 
Breuer, Harry (New Trio), Mallets In 
Wonderland—Sep. '88 
Burton, Gary, Artist's Choice —Mar. '88 
Fents, The, The Other Side —Mar. '88 
Gadd, Steve, The Gadd Gang — Mar. '88 
Gottlieb, Danny, Aquamarine —Mar. '88 
Grisman, Dave (Quintet), Svingin' With 
Svend—Sep. '88 

Iron Maiden, Seventh Son Of A Seventh 
Son— Sep. '88 

Living Colour, Vivid —Sep. '88 
Moses, Bob/Martin, Billy, Drumming 
Birds—Sep. '88 

The New Percussion Group Of 
Amsterdam (w/Bruford and Abe), Go 
Between—Sep. '88 

Percussion Claviers De Lyon, Rags (Vol. 
2)—Sep. ’88 

Repercussion Unit, In Need Again — 
Mar. '88 

Samuels, Dave, Living Colors —Sep. '88 
Scofield, John, Loud jazz —Sep. '88 
Stevens, Leigh Howard, Bach On 
Marimba —Mar. '88 

Vazquez, Roland, The Tides Of Time — 
Sep. '88 


126 


MODERN DRUMMER 













































































































































Velez, Glen, Seven Heaven —Sep. '88 
Vera, Billy (& The Beaters), Retro 
Nuevo —Sep. '88 

Orchestral Percussionist 

Pershing, Karen Ervin, "Le Marteau Sans 
Maitre"—Jul. '88 

Printed Page 

(Reviews alphabetized by book author, 
not by reviewer) 

Barta, Steve, The Source —May '88 
Ciago, Ronnie, Ambidexterity — May '88 
Erskine, Peter, Drum Concepts And 
Techniques —May '88 
Franchetti, Arnold, Ricamo (Embroi¬ 
dery)— May '88 
Friedman, David, Mirror From 
Another —May '88 
Frock, George, Mexican Variations — 
May '88 

Gibson, Gary, Wallflower, Snowbird, 
Carillon For Vibraphone —May '88 
Gomez, Alice, Etude In D Minor —May 
'88 

Mancini, David, Extremes —May '88 

Rock Charts 

(Alphabetized by artist, not by 
transcriber) 

Clouden, Leroy, "Century's End"—Dec. 
'88 

Jackson, Al, "Back Home"—Mar. '88 
Kramer, |oey, "Dude (Looks Like A 
Lady)"—Aug. '88 

Lee, Tommy, "Wild Side"—)un. '88 
Smith, Steve, "Lovin', Touchin', 
Squeezin'"—Jan. '88 
White, Alan, "Rhythm Of Love"—Oct. 
'88 

Rock 'N' Jazz Clinic 

Chaffee, Gary (and Mulkey, Lyman), 
"Linear Drumming"—Dec. '88 

Fields, Howard, "The Right Hand: A 
Different Approach"—May '88 

Morgenstein, Rod, "A Little Can Go A 
Long Way"—Jan. '88, 

"A Little Can Go A Long Way: Part 2"— 
Feb. '88, 

"In Pursuit Of Odd Time: Part 1"—Apr. 
' 88 , 

"In Pursuit Of Odd Time: Part 2"—Jun. 

'88, 

"In Pursuit Of Odd Time: Part 3"—Jul. 
' 88 , 

"Breaking With Tradition"—Sep. '88, 
"What's In A Note: Part 1 "—Nov. '88 

Paletta, Kelly, "Style & Analysis: Omar 
Hakim"—Oct. '88 

Peart, Neil, "Creating The Drum Part"— 
Aug. '88 

Rock Perspectives 

Aronoff, Kenny, "Hand And Foot 

Exercises"—Jan. '88 

"Hand And Foot Exercises: Part 2"— 

Mar. '88, 

"Hand And Foot Exercises: Part 3"— 
May '88, 

"Live Vs. Studio"—Jul. '88, 

"Warming Up: Part 1"—Sep. '88, 
"Warming Up: Part 2"—Nov. '88 

Branscum, Bradley, "5/8 Funk"—Feb. 

'88 

Xepoleas, John, "Triplet Fills"—Aug. '88 

Shop Talk 

Brooks, Clive, "Building Silent 
Drums"—May '88 


Budofsky, Adam, "Vater Percussion"— 
Dec. '88 

Clarke, John, "Rooting Out The 
Noises"—Mar. '88, 

"Buying Used"—Jun. '88, 

"Drumset Options"—Aug. '88 

DeFrancesco, Ron, "Skin On Skin 
Percussion"—Apr. '88 

Foley, Patrick, "Getting The Most From 
Your Snare Drum"—Jan. '88, 
"Re-Vamping Your Snare Drum"—Feb. 
'88 

Schmidt, Paul, "The Drumkit Timp"— 
Mar. '88 


Show Drummers' Seminar 

Marchica, Ray, "The Drummer- 
Conductor Relationship"—Sep. '88 

Marsh, George, "Acoustic Intensity"— 
May '88 

Slightly Offbeat 

Clarke, John, "The World's Biggest 
Drum"—Apr. '88 

South Of The Border 

Santos, John, "The Merengue"—Jan. 

' 88 , 

"The Mozambique"—Mar. '88, 
"Fundamentals Of The Tumbadora"— 
May '88 

Strictly Technique 

Glaister, Tom, "Improving Hi-Hat 


Control"—Jan. '88 

McKinney, James R., "Improving Hand 
Control"—May '88 

Sanderson, Dean, "Rockin' Rudi¬ 
ments"—Jul. '88 

Taking Care Of Business 

Philcox, Phil, "HowTo Buy A Used 
Drumset...Cheap!"—Aug. '88 

Teachers' Forum 

Alpert, Brian, "Music And Perfection"— 
Jun. '88 

Friedman, Roma Sachs, "A Teacher's 
Test"—Mar. '88 

Lauby, Daniel, "Internalization"—May 



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Choice of "player" designed sizes 
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127 


MODERN DRUMMER 




































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128 



'88, 

"Books And Lessons: 'Do I Really Need Them?'"—Oct. 
'88 

Myers, Mike, "MIDI And The Percussion Teacher"— 
Jul. '88 

The lobbing Drummer 

Coxon, Robert, "Adapting To The Gig"—Jul. '88 

Goodwin, Simon, "All In Good Time"—Feb. '88, 

"In On The Count"—Apr. '88, 

"Endings"—May '88, 

"Making People Dance"—Oct. '88 

Hurley, Mark, "Subbing: A Musical Approach"—Nov. 
'88 

The Machine Shop 

Brooks, Clive, "The Funk Machine"—Jan. '88, 
"Programming Shuffles"—Feb. '88, 

"All That Jazz"—Jun. '88, 

"Outside 4/4"—Aug. '88, 

"Building Blocks Of Rock"—Nov. '88 

Hurley, Mark, "Soloing With The Machine"—Mar. '88 

LaCerra, Steve, "Recording Your Drum Machine"— 
Dec. '88 

Mattingly, Rick, "Tricking Your Drum Machine"—Apr. 
'88 

Timp Talk 

Firth, Vic, "Dialogue For Timpani And Drumset"—Jan. 
'88 

Hinger, Fred D., "Tuning The Timpani"—May '88 

T racking 

Jaramillo, Hank, "Beware Of The Simple Drum 
Chart"—Jan. '88, 

"A Chorus Line"—Jun. '88 

Richards, Emil, "Sight-Reading In The Studio"—Feb. 
'88, 

"Movie Cues"—Apr. '88, 

"The Academy Awards"—Oct. '88, 

"Odd Rhythms And Meters In TV And Film Cues"— 
Dec. '88 

NAMM Show Reports 

Mattingly, Rick "Summer NAMM 1988" (NN)—Nov. 
'88 

Van Horn, Rick, "Highlights Of The 1988 NAMM 
Winter Market," MD Equipment Annual (F)—Jul. '88 

PASIC Reports 

PASIC Report (photos only) (IH)—Mar. '88 

Product Review Columns 

(Listed alphabetically by manufacturer or product 
name) 

Alesis HR-16 Drum Machine (ER)—Oct. '88 

Aquarian Drumheads (PCU)—Jan. '88 

Barcus-Berry 2050 Drum PickupArigger and Krash Pad 
(ER)—Mar. '88 

Beyer Percussion Mic' Group (ER)—Apr. '88 

Cana-Sonic Drumheads (PCU)—Feb. '88 

Casio DZ-7 MIDI Drum Translator (ER)—Nov. '88 

CB-700 Piccolo Snare Drum (PCU)—Oct. '88 

C-Ducer A.P.T. Acoustic Percussion Trigger (ER)—Mar. 
'88 

Compo Drumheads (PCU)—Feb. '88 
Dauz Drum Trigger Pads (ER)—Mar. '88 


Drum Workshop 5000TE Triggering Pedal (ER)—Sep. 

'88 

Dynacord P-20 Digital MIDI Drumkit (ER)—Jan. '88 

E-mu Systems SP-1200 Sampling Percussion System 
(ER)—May '88 

Engineered Percussion E-Pedal (ER)—Mar. '88 

Evans Drumheads (PCU)—Jan. '88 

Gretsch Fusion Drumkit (PCU)—Apr. '88 

Grover Drumsticks (PCU)—Aug. '88 

Impact Piccolo Snare Drum (PCU)—Oct. '88 

Istanbul Cymbals (PCU)—May '88 

J.T. Enterprises Drum Bug and Drum Bug Trigger (ER )— 
Sep. '88 

Little Miss Moffat Outrigger Trigger (ER)—Mar. '88 

Ludwig Super Classic Kit and Black Beauty Snare 
Drum (PCU)—Nov. '88 

MacDrums (ER)—Dec. '88 

Material Innovations Igniters and Kicks Bass Drum 
Trigger (ER)—Sep. '88 

Maxx Stixx Drumsticks (PCU)—Aug. '88 

Noble & Cooley Piccolo Snare Drum and Drumbali 
(PCU)—Oct. '88 

Pearl Drumsticks (PCU)—Aug. '88 

Phi Technologies Phi-Trac Trigger (ER)—Mar. '88 

Premier 2024 Piccolo and 2029 Heavy Rock Nine 
Snare Drums (PCU)—Mar. '88 

Purecussion Drums (PCU)—Jul. '88 

Remo Falams K-Series Drumheads and Spoxe (PCU)— 
Jun. '88 

R.O.C. Piccolo Snare Drums (PCU)—Oct. '88 

Roland PM-16 and TR-626 Rhythm Composer (ER )— 

|un. '88 

Sabian HH Rock and Fusion Hats Cymbals (PCU)—Jul. 
'88 

Shawstix Drumsticks (PCU)—Aug. '88 

Silver Fox Drumsticks (PCU)—Aug. '88 

Sonor Signature HID 590 Snare Drum (PCU)—Mar. 

'88 

Techtonics SDT Trigger (ER)—Mar. '88 

Tempus Instruments Piccolo Snare Drum (PCU)—Oct. 
'88 

The Shark Trigger Pedal (ER)—Sep. '88 

Trigger Perfect SC-10 Drum Triggers (ER)—Sep. '88 

Upbeat Rhythm Programmer [Software] (ER)—Feb. '88 

Yamaha SD-496, SD-416, SD-498, and SD-493 Brass 
Snare Drums (PCU)—Mar. '88, 

Power V Drumkit (PCU)—Dec. '88 

Zildjian ZMC-1 Miking System (ER)—Apr. '88, 

Hi-hat cymbals (PCU)—Jul. '88, 

Drumsticks (PCU)—Aug. '88 

i 

MODERN DRUMMER 























2R Or Not 2B? 


No question about it. Pearl has got the answer to 
your drumstick dilemma. From the Standard 7A. 
SA, SB and 2B sticks, available in both wood and 
nylon tip, to the new Hard Rock sticks with a black 
nylon tip and our own Recording, Studio and The 
Dude ’ models there is a style to suit every 
lype of player. 

When you pick up a Pearl 
Drumstick youll £ 


notice you feel the wood grain, not layers of slick 
varnish, but premium quality American Hickory 
made in the U.SlA, You'll also notice the superb 
straightness* balance and quality of these sticks, and 
all for a price you can afford. 

So, 2B or not 2B? Well, weve got 12 correct an¬ 
swers to this question and we’re sure at least 
one of them is the answer that you’re 
* f looking for, 


E 


* Hi! i 


Mil- 


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RECORDING HIM 




















Profiles in 
Percussion 

Steve Ferrera 


Acclaimed far his work boSb on record and 
live until "Suzanne Mega!' Sieve Ferrera 
has rapidly become recognized as one of 
ihs niDsI previously talented percussion¬ 
ists around. 

Though he is based n New York, Sieve's 
Saleots have also become greatly sought 
after in the raccfdmg studios oi London, 
England. He has lent has umque rhyltmiic 
voei faartists such as 'H pswayr "Mica 
Paris" ^Habit" and manyol ihefresliesl 
acts currenliyem nating From ihe Furtive 
British pop scene. 

Steve studied all aspect of percussion 
at me New England Conservatory cf Music. 
He beliefs lhal the abilbylo play all styles 
of musfa is essential lor a successful career 
in loday's music industry. 

Ihe best equipment available, ^eve says 
“IVe used Zfltfjian qmbats all my life, since 
Ihe first cymbal I ever had. Z'ldjian really is 
ihe only serious choice'' 


Steve 
Ferrera 
cymbal sel-up. 

A: 13' KE Ml Hals 
B: IT K Bniiut 
C: ASoJaan Brillianl 

0 . 16 " 2 Crash 
E; 17- KParnCfash 
F: 30" KCuBMHH 
G: IS' A China Boy Lew 


L 


r Th? prrijf 1 wrigmsfipkfl- 


AvedfsZildJIan Company 

Longwater Drive. Norwelt, M A 02061 


next month in 

JANUARY'S 

MD... 


t l*fiH .Wrts^Wpjnts’-fianf 


AL 

FOSTER 

BRUCE HORNSBY'S 

JOHN MOLO 

YNGWIE MALMSTEEN'S 

ANDERS 

JOHANSSON 

TERRY BOZZIO 

SOUND SUPPLEMENT 


Plus columns by: 

Rod Morgenstein 
Kenny Aronoff 

Anthony Cirone 

and much more... 
don't miss it! 



ADVERTISER'S 

INDEX 


Aquarian Accessories 

81 

Atlanta Pro Percussion 

87 

Bamo, Inc. 

126 

Sam Barnard 

12 

Beato Musical Products 

123 

Rob Borg 

125 

Calato/Regal Tip 

11 

Collarlock Canada, Inc. 

63 

Corder Drum Company 

66 

CT Audio 

74 

DC 1000 Percussion 

93 

DCI Music Video 

62,67,95,101 

D & F Products 

111 

ddrum ... 

_ 104 

D.O.G. Percussion 

.. 56 

Drummers Collective 

46 

Drum/Keyboard Shop . . . 

.. 83,108 

Drum Workshop 

13,107 

Dynacord ...*._ .. .... . 

. . 75 



Electro-Voice ... _ 

9 

Evans Products . . . 

91,93,94 

Explorer's Percussion 

56 

Fibes Drumsticks 

. 109 

Fit To Be Publishing .. 

... . 105 

Chas. E.Foote, Ltd. 

120 

CC Music 

44 

Grant's Drum City 

100 

Gretsch Drums 

Inside Back Cover 

Hot Licks Productions 

97 

Impact Industries 

52 

Imperial 

118 

]emm Company 

38,40 

Latin Percussion 

60 

Lexicon 

1 

Victor Litz Music Center 

63 

Ludwig Industries Inside 

CO 

o 

ci5 

> 

o 

O 

c 

o 

LL 

L.T. Lug Lock 

100 

MD Back Issues 

121 

MD Equipment Annual _*_ 

.. 45 

MD Library... ..... 

112/115 

Music Connection Products 

44 

Musician's Institute _+... .,, .... 

. 119 

Musician's Organizer __ 


Noble & Cooley 

78 

Paiste 

34/35 

Pearl International 

18/19,53,129 

Percussion Paradise 

118 

Precision Drum Co. 

118 

Premier Percussion USA .. 

5,55 

Professional Video Corp. 

57 

Pro Mark 

69 

Purecussion 

71 j 

Paul Real Sales 

127 

Remo 

73,124 

Resurrection Drums ... _ 

110,118 | 

RIMS 

125 

R.O.C. Drums 

76 

Rogers Drums 

39 

Rolls Music Center 

106 

Sabian 

57,59,61 

"Set The Pace" Pedal Practice Pads 110 

Shure Bros. 

7,122 

Simmons Electronics USA 

70,72 

Slobeat Percussion 

106 

Sonor Percussion 

15 

Synsonics 

58 

Tama 

1 7,48/49 

Taw Sound £ Drum 

128 

Thoroughbred Music 

81 

Thunderstick 

105 

TropiCal Productions 

—-- . 97 

Valley Drum Shop 

40 

Vater Percussion 

125 

Vaughncraft 

54 

Veneman Music 

111 

Veri Sonic 

120 

Vic Firth, inc. . 

41,56,63 

Waddel's Cymbal Warehouse 

110 

Glenn Weber Drum Studio 

56 

The Woodwind & The Brasswind 

118 

Yamaha . 

. 6 77 117 

Zildjian ,... . 30, Outside Back Cover 


130 


MODERN DRUMMER 






































THE WORLD’S FINEST DRUMS ARE MADE IN THE U.S.A. 



A HERITAGE OF QUALITY. 

Since the founding of Grctsch, in 1R83 there has 
been a driving force to produce top-quaihiy drums, 
now proven by ovit HK> years of world-wide 
recognition, 

DRUMMER IS NUMBER ONE 

Today, as in all of the years ofGrctsdi drum making, 
drummers are always welcome in our manufacturing 
plants. Greusdi wants their input, warns to know 
their needs. 

THE ART OF CUSTOMIZING. 

Customizing a drum kit is an arc — coming from the 
artist himself — most alt t iretseh drums are 
customized in some way It comes easily to our 
Grctsch people. 

BEST OF MATERIALS. 

PmfcNsionah who rriy on their *ei* for serious 
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Only one shell material can produce the famous 
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Hand finishing throughout, including our incompar¬ 
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Color is an important part of artistry — die GrttSCh 
choices tor customizing your set are unlimited — 
any in the rainbow 

THE RIMS SYSTEM. 

The finest and most resonant of alt drum mounting 
systems — offered factory installed on your set of 
Grctsch drums. 

WORLD CLASS HARDWARE. 

Alt pans of the drum set are important, and that s 
why (iitGith offers TECH WARE hardware. Most ver¬ 
bal ik of all — finest quality — greatest flexibility. 



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The customized kit you order from Grctsch has a 
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FIVE YEAR WARRANTY 

It's standard with Gmsch, A five year warranty is 
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TOP TA LENT ARTISTS CHOOSE 
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“Visit your Grctsch dealer today. u> see the surprising affordability of your own custom Gretsch kit/' 

f-irr JfirfiHF jSinlLTijJy-iHif diwinwahtm^bti^ 13 311 JIlaiHflfcnRtuJiPLittifnNaflcy-iPHk-fiB^tJinwlT Poster, fritiklW nanif, RC> ftufe Ri, 5 { - 









THREE HEAVY 
REASONS TO PLAY 

ZHMANS. 




Joey Kramer (Aerosmith), Rick Alien (Det Leppard), 
and Gragg Rissonette (David Lee Roth). Three of the 
most colossaJlv successful drummers in the history of 
Rock& Rdf When you're at the very top of your profes¬ 
sion, is it ary wonder that you play the most cofossaUy 
successful metal in the history 7 of cymbals? 

wUmmatmiW: t / 

t jjL Jnlv Serious Choice. 


It* i cOfJj 1 of the new Z-iLd jinn Cymhpb 
.t::d Acrr^nrBtrtCai^lnj:. Wild jfi.flv to: 
V Tdb ZaUjuait Compani, lh-jn, NC. 
! P .,n,pv H TierS>;. 

£ ^ AvciisZildjiSn Cumpaj!y. 


Rmthlfir.